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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema. This is Rob Lamb

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Speaker 2: and this is Joe McCormick.

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Speaker 3: And today on Weird House, we're going to be talking

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Speaker 3: about the nineteen seventy two made for TV horror film Gargoyles,

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Speaker 3: starring Cornell Wilde, Jennifer Salt, Grayson Hall, and Bernie Casey.

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Speaker 3: This selection has been waiting in the wings for some time,

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Speaker 3: hasn't it. It comes up frequently on our Connection segment

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Speaker 3: in multiple previous episodes, and also has been recommended by

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Speaker 3: multiple listeners. It was one of the It just seemed

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Speaker 3: we were faded to cover it at some point.

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Speaker 2: That's right. Let's see Lee Steven, Bob Tato or Bob Tato,

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Speaker 2: I'm not sure which his pronunciation. Are just a few

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Speaker 2: of the listeners who suggested this film in particular and

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Speaker 2: said it would be a great fit. Yeah, It's come

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Speaker 2: up multiple times on the show before in our Connections,

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Speaker 2: and it's also one that I finally remember watching at

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Speaker 2: least parts of on television in the nineteen nineties, I

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Speaker 2: think on the Sci Fi channel and TV again is

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Speaker 2: the place to watch it. This was a film made

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Speaker 2: for television, and it has just this great TV wasteland

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Speaker 2: vibe to it. The sort of weird dated movie that

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Speaker 2: like during the nineteen nineties you discover on cable when

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Speaker 2: you were inside on a weekend afternoon instead of going

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Speaker 2: outside and playing in the sun, or that you discover

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Speaker 2: late at night instead of getting a good night's sleep,

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Speaker 2: that sort of picture.

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Speaker 3: The spirit of television flows through it, even to the

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Speaker 3: extent that there's one character. We'll have to talk about

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Speaker 3: this in the plot section. There's one character who seems

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Speaker 3: to have gotten completely different notes on how to play

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Speaker 3: his character over the course of a commercial break.

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Speaker 2: Can change during a commercial break, you know, it takes

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Speaker 2: you out of the action. I believe we're going to

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Speaker 2: talk more about this later. It takes you out of

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Speaker 2: the action, perhaps takes you out of the room as

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Speaker 2: you go to get your dinner, return your plate, get

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Speaker 2: a snack, use the restroom, put the kids to bed,

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Speaker 2: what have you, and then you're back in and yeah,

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Speaker 2: it might be a different movie by that point. Like

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Speaker 2: sometimes it is implied stuff has happened during the break.

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Speaker 3: I guess that's true. The character I have in mind

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Speaker 3: is implied to have gotten drunk as over the course

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Speaker 3: of the commercial break, but he goes from being kind

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Speaker 3: of I don't know, sly in cagey to just being

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Speaker 3: a complete mass.

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Speaker 2: Yeah, it happens pretty quickly. So yes. Indeed, this film

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Speaker 2: was originally broadcast on Tuesday, November twenty first, nineteen seventy two,

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Speaker 2: for CBS's the New CBS Tuesday Night Movies. The made

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Speaker 2: for TV werewolf movie Death Moon that we previously covered

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Speaker 2: on Weird House was also a CBS affair, though it

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Speaker 2: aired on a Wednesday.

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Speaker 3: Was it one of the new CBS Wednesday Night Movies?

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Speaker 2: Oh, I don't recall. Death Moon came out and said so,

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Speaker 2: I guess I knew it had become old or standard

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Speaker 2: by that point. I'm not sure. I get a little

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Speaker 2: foggy on how like the Tuesday Night movie would have

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Speaker 2: differed from the Wednesday Night movie. I just remember the

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Speaker 2: Death Moon aired, I think following an episode of The

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Speaker 2: Incredible Hulk. But this is a movie that certainly connected

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Speaker 2: with plenty of folks. It's a nice mix of early

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Speaker 2: seventies television, monster suits cinematic weirdness. In nineteen eighty one's

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Speaker 2: Dance maccob Stephen King singled it out as one of

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Speaker 2: the high points of the various one shot TV movies

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Speaker 2: and specials of the day, praising it as memorable and hideous. Likewise,

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Speaker 2: Michael Weldon in the Psychotronic film Guides highlights it as unusual.

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Speaker 3: I'm a little perplexed at the amount of praise I

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Speaker 3: see people heap on this movie. But I will give

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Speaker 3: it that it is not boring, like it kind of

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Speaker 3: skips right along and is highly entertaining as to its

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Speaker 3: real horror credentials. I don't know if I can quite

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Speaker 3: go there.

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Speaker 2: I feel like it is remarkably weird to have been

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Speaker 2: on television. You know. It's like other examples will point

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Speaker 2: to from this time period. When you're looking at made

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Speaker 2: for TV horror, a lot of them are a little

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Speaker 2: more you know, traditional in the sense that maybe it's

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Speaker 2: like Gothic horror, and you know, not that this is

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Speaker 2: completely non traditional. It is based, you know, basic format

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Speaker 2: of a monster movie, and it's set with a you know,

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Speaker 2: an American background. But yeah, I mean these scenes where

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Speaker 2: you have like reptilian gargoyle creatures like rebinon big furry

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Speaker 2: eggs and in an egg cave, it's it's weird stuff.

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Speaker 3: Weirder even for its time than you might think because

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Speaker 3: we live downstream of gargoyles. An interesting claim I came across.

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Speaker 3: I can't verify this, but a claim of priority that

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Speaker 3: I found referenced in the Ashgate Encyclopedia of Literary and

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Speaker 3: Cinematic Monsters, edited by somebody named somebody named Jeffrey Andrew Weinstock.

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Speaker 2: Uh.

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Speaker 3: This book claims quote Gargoyles, the movie we're talking about today.

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Speaker 3: Gargoyles is the first work to present gargoyles as a

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Speaker 3: species as opposed to solitary creatures.

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Speaker 2: Hmmm. Interesting, yeah, yeah, because that is how they're they're

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Speaker 2: positioned here. They are not statues, come alive. They are

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Speaker 2: an ancient species of creatures, perhaps with some sort of

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Speaker 2: origins going back to Satan in the Fall, the Rebel Angels.

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Speaker 3: Well, it just seems kind of like a creative appropriation

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Speaker 3: of the word gargoyle, because otherwise they are treated as

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Speaker 3: just demons. They're just demons or devils, but they're also

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Speaker 3: sort of greedo.

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Speaker 2: Yeah, yeah, yeah, they're they're reptile men. They but they

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Speaker 2: are gargoyles. They're also devils. But the title of the

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Speaker 2: movie is Gargoyles, and they make sure to call them

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Speaker 2: gargoyles at various points in the film.

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Speaker 3: I should mention that that same Encyclopedia entry also flags

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Speaker 3: a short story by Harlan Ellison called Bleeding Stones, apparently

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Speaker 3: also published in nineteen seventy two, in which there are

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Speaker 3: gargoyles on Saint Patrick's Cathedral that are animated by pollution,

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Speaker 3: like industrial waste gets into them and it turns them

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Speaker 3: into monsters that attack New York City.

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Speaker 2: I should go ahead and mention, now that we're talking

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Speaker 2: about this, if any of this sounds familiar. Back in

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Speaker 2: October of twenty twenty four, we did the Stuff to

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Speaker 2: Blow Your Mind episode titled Grimoure of Horror, Volume one.

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Speaker 2: We talked about a couple of short horror stories, one

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Speaker 2: of them being a nineteen thirty two Clark Ashton Smith

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Speaker 2: story about gargoyles in which a tormented sculptors gargoyles come

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Speaker 2: to life and commit crimes in this Gothic city, and

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Speaker 2: that is often pointed to as one of if not

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Speaker 2: like the first stories about animate gargoyle, But then again,

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Speaker 2: that would be different than what we have here today.

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Speaker 2: These are gargoyles that were never part of the particular

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Speaker 2: of a particular architectural uh creation. They instead are said

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Speaker 2: to have inspired architectural flourishes. And what are those flourishes. Well,

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Speaker 2: just a reminder we're talking when we talk about gargoyles,

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Speaker 2: we're generally talking about a decorative water spout to drain

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Speaker 2: water away from a building. Then the term is used

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Speaker 2: a little loose more loosely to describe, you know, hideous

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Speaker 2: monsters perching on the corners of buildings. That you get

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Speaker 2: you get into different terminology when you get into the

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Speaker 2: specifics of all these things. But this is linked to

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Speaker 2: the old French word gargoue as well as the Greek gargarazine.

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Speaker 2: And these words, of course may remind you of the

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Speaker 2: word gargyle that we use today, because you know, essentially

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Speaker 2: we're talking about a word used to describe the clearing

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Speaker 2: or washing of the throat.

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Speaker 3: Right, So, from decorative water spouts the side of a

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Speaker 3: building to Reptilian Satanic gredo monsters that live in caves

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Speaker 3: in only a few hundred years, that's an evolution.

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Speaker 2: Yes, from European cathedrals to the children of Lucifer living

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Speaker 2: in caves. In the Great American Desert.

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Speaker 3: Now, we mentioned earlier that a lot of people have

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Speaker 3: had praise for this movie, a lot of good things

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Speaker 3: to say about it, and one thing that often gets

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Speaker 3: singled out for praise is the creature design itself, the

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Speaker 3: monster design. They've got these great rubber masks and suits.

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Speaker 3: And apparently this movie won a nineteen seventy three Primetime

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Speaker 3: Emmy for Outstanding Achievement in Makeup.

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Speaker 2: That's right. It beat out a TV movie of Doctor

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Speaker 2: Jekyll and Mister Hyde starring Kirk Douglas and Donald Pleasants,

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Speaker 2: as well as a TV movie of Frankenstein starring Robert Foxworth,

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Speaker 2: who would go on to appear in Death Moon, as

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Speaker 2: well as the actor Bose S. Vincent, who I believe

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Speaker 2: Vincent played the monster, Foxworth played the doctor.

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Speaker 3: Foxworth was the work beast and.

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Speaker 2: Yeah, yeah, I mean who I mean, Doctor Frankenstein. Can

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Speaker 2: you think of more a bigger work beast than that?

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Speaker 3: That's right, He's the original work beast. I wonder how

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Speaker 3: my feelings about Gargoyles might be different if if we'd

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Speaker 3: seen it with the hard burned Dutch subtitles. I think

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Speaker 3: that would bring a different spirit to the to the occasion,

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Speaker 3: wouldn't it?

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Speaker 2: Yeah, probably so. But the costumes here do look amazing,

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Speaker 2: and as we'll get into in just a little bit,

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Speaker 2: it's the work of Stan Winston, like fresh baby face

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Speaker 2: stan Winston. This is his first big, big gig as

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Speaker 2: a makeup dude before he went on to a lot

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Speaker 2: of other legendary work and legendary monster design makeup effects

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Speaker 2: from the subtle to the extravagant. Now, are these suits

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Speaker 2: always presented in the best light? Is the rest of

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Speaker 2: the film like reaching its level? Well, you know, an

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Speaker 2: argument could be made that it is not. You know,

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Speaker 2: you put a suit like this in a gas station

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Speaker 2: in the middle of New Mexico, it might not look

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Speaker 2: as great. But I think on their own they look

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Speaker 2: amazing and compared to anything else it was on TV

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Speaker 2: at the time, I have no doubt that these really

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Speaker 2: stood out and obviously touched a nerve.

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Speaker 3: I believe these suits and makeup effects could have popped

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Speaker 3: even more if they'd been photographed a little more carefully.

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Speaker 3: I don't want to insult the cinematography too much, but

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Speaker 3: we get a lot of just straight up looking at them,

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Speaker 3: even in slow motion, sometimes in broad daylight, sometimes busting

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Speaker 3: through a breakaway door into a hotel room not the

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Speaker 3: most creative or artful way of obscuring and keeping the

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Speaker 3: mystery of the gargoyle form alive.

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Speaker 2: Yes, yes, yeah, they're often shot, and yeah, feels like

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Speaker 2: like noon sun they're out being stealthy. Just the in

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Speaker 2: broad daylight. People were like, what was that that flew over?

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Speaker 2: And it's like, you're in the middle of nowhere in

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Speaker 2: New Mexico. I think you probably could have seen it,

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Speaker 2: but I don't know. There are plenty of plenty of

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Speaker 2: animals in New Mexico that managed to carry out their

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Speaker 2: stealth roles successfully, so I guess an argument could be

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Speaker 2: made that these these creatures do as well.

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Speaker 3: It's hard to stay stealthy when you're doing trampoline stunts

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Speaker 3: in slow motion.

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Speaker 2: True. True.

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Speaker 3: So I wanted to pause here for a moment to

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Speaker 3: think about the specific flavor of today's movie, because despite

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Speaker 3: the different setting and subject matter, I noticed what felt

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Speaker 3: like a significant esthetic overlap with the other seventies American

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Speaker 3: made for TV horror movie we've covered again. That was

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Speaker 3: Death Moon with the work Beast, and this got me

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Speaker 3: interested in thinking about these movies as their own subgenre.

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Speaker 3: The made for TV movie of the seventies as its

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Speaker 3: own horror subgenre. So I went digging around for any

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Speaker 3: academic literature that has explored this idea, and I came

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Speaker 3: across a passage in a book. So the book was

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Speaker 3: by Lorna Jowett and Stacy Abbott called TV Horror Investigating

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Speaker 3: the Dark Side of the Small Screen. This was originally

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Speaker 3: published in twenty thirteen. I haven't read this whole book,

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Speaker 3: but I did read some reviews, and in this passage

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Speaker 3: about made for TV films of the era in question,

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Speaker 3: it seems to me the central idea of this book

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Speaker 3: is that wild TV has long been thought of as

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Speaker 3: a poor venue for horror storytelling due to many things.

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Speaker 3: You know, restrictions on content that tend to be more

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Speaker 3: restrictive than what you would get in the movie theaters,

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Speaker 3: and horror tends to be by nature transgressive and contains

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Speaker 3: objectionable material. But also you can think about constraints due

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Speaker 3: to format format restrictions like the need to include commercial breaks.

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Speaker 3: Despite all those well known limitations, the authors argue that

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Speaker 3: the medium of TV also kind of presents its own

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Speaker 3: unique opportunities for horror, and that horror has long been

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Speaker 3: incorporated it into TV storytelling, even if in cryptic forms,

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Speaker 3: kind of expressing itself in little ways in you know,

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Speaker 3: in crime dramas on TV and things like that. And

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Speaker 3: in the words of the authors the quote relationship between

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Speaker 3: horror and television is one fraught with tension and potential.

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Speaker 3: And so when you try to think, like, what would

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Speaker 3: be the special potential for horror on TV as opposed

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Speaker 3: to other media like the cinema or in written literature.

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Speaker 3: One example that comes to mind for me, which they

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Speaker 3: do explore in the book, is the idea that back

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Speaker 3: before home video, when movies were something that you went

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Speaker 3: to see in the theater and you couldn't watch at

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Speaker 3: home unless it just happened to be playing on one

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Speaker 3: of the few TV stations you got, TV provided provided

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Speaker 3: an opportunity to project visual horror into the domestic setting,

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Speaker 3: and the domestic setting changed how frightening stories were received,

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Speaker 3: and to that last point. At one point in this book,

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Speaker 3: the author's cite the concluding voiceover from Colchak The night Stalker,

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Speaker 3: which is not a movie but a sort of mystery

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Speaker 3: horror TV series. We've talked about this in our anthology

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Speaker 3: of Horror episodes in the Halloween season sometimes but apparently

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Speaker 3: you know, at the end of this Colchak would always

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Speaker 3: say something like quote, So think about it and try

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Speaker 3: to tell yourself, wherever you may be and the quiet

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Speaker 3: of your home, in the safety of your bed, try

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Speaker 3: to tell yourself that it couldn't happen to you. You know,

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Speaker 3: the implication being, Oh, you think you're safe just because

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Speaker 3: you're at home on your couch eating a hungry man

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Speaker 3: dinner right now, but no paramoul fay, this moss monster

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Speaker 3: could come get you.

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Speaker 2: That's a great point, you know, Like you could basically

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Speaker 2: have a no horror in the house rule where you

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Speaker 2: only go out to the theaters and see horror, but

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Speaker 2: then TV changes that in the same way that like

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Speaker 2: right now, I think most of us probably, well not

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Speaker 2: most of us. I can't speak for everyone out there.

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Speaker 2: I know we have some horror ficionados out there there,

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Speaker 2: but a lot of us probably have an unofficial rule

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Speaker 2: of no haunted attractions in the house. Where we go

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Speaker 2: out to a haunted attraction. We go out to a

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Speaker 2: professional haunted house, but we don't bring professional gruls and

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Speaker 2: goblins into our home to jump scarce randomly, you know,

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Speaker 2: and if we were to do that, that would drastically

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Speaker 2: change the way we might think about our house.

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Speaker 3: Yeah exactly. Now, of course this would change with the

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Speaker 3: advent of home video, you know, that sort of reshuffles everything,

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Speaker 3: But you can still think of ways in which TV

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Speaker 3: is a different video. I've said this on the show before,

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Speaker 3: but I'm often very partial to medium is the message

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Speaker 3: type thinking kind of mccluinist view that we really underappreciate

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Speaker 3: how much we're influenced not just by the content that

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Speaker 3: we consume, but by the format that that content takes. So,

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Speaker 3: you know, whatever technology or media we use to consume

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Speaker 3: it that shapes us almost as much as the content itself,

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Speaker 3: and shape shapes over time the form the content takes.

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Speaker 2: Yeah. Yeah, this has certainly come up before when we've

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Speaker 2: talked about movies where certain changes were made because they

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Speaker 2: wanted to make sure that like the first ten minutes killed,

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Speaker 2: you know, so people wouldn't leave the theater, or I

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Speaker 2: seem to recall an example where they were like, well,

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Speaker 2: let's offset the big moment a little bit so that

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Speaker 2: people who are late to their seats don't miss out

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Speaker 2: on the excitement. Things like that, you know, and I

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Speaker 2: guess with TV horre you're also probably having a factor

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Speaker 2: in well, some people are coming in maybe thirty minutes

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Speaker 2: into it. You know, there's no definite start time. It's

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Speaker 2: not like they bought a ticket.

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Speaker 3: Yeah, we'll come back to that in just a minute,

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Speaker 3: but I did want to say so. The authors here

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Speaker 3: have a sub section discussing horror within the history of

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Speaker 3: the made for TV movie, also known as the single play,

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Speaker 3: a single play as opposed to like a series or

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Speaker 3: a mini series, and so they write about how the

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Speaker 3: made for TV movie was especially popular in the nineteen

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Speaker 3: sixties and seventies, with major productions in being networks in

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Speaker 3: the United States like ABC and then in this case CBS,

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Speaker 3: and then of course in Britain as well with things

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Speaker 3: like ITV. ITV actually had armchair theater going back to

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Speaker 3: the nineteen fifties, so we established even earlier there. But

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Speaker 3: then the authors cite a scholar named Waller who cataloged

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Speaker 3: more than one hundred made for TV horror films that

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Speaker 3: premiered on primetime in the United States between nineteen sixty

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Speaker 3: eight and nineteen eighty seven, and that was kind of

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Speaker 3: surprising to me that there were that many because I

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Speaker 3: don't think of horror as the most popular genre of

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Speaker 3: made for TV movies. I mean, I tend to think

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Speaker 3: of made for TV movies as like, you know, your

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Speaker 3: kind of comedies and your family dramas and things like that.

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Speaker 3: They were made for TV. Horror felt like a more rare,

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Speaker 3: rare exploration. But in discussing these movies, Jowett and Abbott right.

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Speaker 2: Quote.

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Speaker 3: These films include at daptations of Gothic novels such as

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Speaker 3: Count Dracula nineteen seventy seven, Frankenstein nineteen seventy three. Oh,

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Speaker 3: I wonder if that's the one we were just talking about.

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Speaker 3: I believe, Yeah, the Turn of the Screw nineteen seventy four,

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Speaker 3: or original contemporary horror such as Fear No Evil nineteen

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Speaker 3: sixty nine, Duel nineteen seventy one. I believe that's an

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Speaker 3: early Steven Spielberg movie.

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Speaker 2: Yeah, I believe Matheson either a script by Matheson or

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Speaker 2: it's based on a work by Matheson. I don't recall

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Speaker 2: at the top of my head.

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Speaker 3: Yeah, and then their final example is Gargoyles from nineteen

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Speaker 3: seventy two, but the passage continues. Quote John Kenneth Muir

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Speaker 3: argues that in this period, television became increasingly graphic, and

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Speaker 3: that the turn toward darkness in TV horror represented, as

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Speaker 3: with cinematic horror, a shift in national mood, due at

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Speaker 3: least in part to the shocking and graphic news footage

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Speaker 3: coming back from the Vietnam War. It was as if

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Speaker 3: for the first time Americans were aware of a darker world,

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Speaker 3: and television reflected that shift in perspective.

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Speaker 2: Hmm, that's fascinating. Now.

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Speaker 3: Another thing they mentioned here is about the production mode

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Speaker 3: of made for TV horror films, which was in some

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Speaker 3: ways similar to that of a cinematic film, but usually

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Speaker 3: with a lower budget and a shorter production schedule. One

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Speaker 3: major format difference that we've already alluded to here is

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Speaker 3: the necessity of incorporating commercial breaks. Now, you might be thinking, like, a,

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Speaker 3: do you really need to plan out commercial breaks? From

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Speaker 3: a writing perspective, maybe you just write the story like

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Speaker 3: you would otherwise and let the breaks fall wherever.

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Speaker 2: Okay, that's how we do the podcast.

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Speaker 3: That sort of is how we do the podcast now.

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Speaker 3: But like the podcast is a conversational informational exploration, it's

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Speaker 3: really hard to do that if you are writing a fiction,

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Speaker 3: a fictional narrative where you're you're trying to control tension

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Speaker 3: and you're trying to build to climaxes and all that.

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Speaker 3: I mean, if you just if you literally just randomly

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Speaker 3: place commercial breaks within a story. In fact, we've seen

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Speaker 3: what this is like when that happens on, like, you know,

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Speaker 3: something like you're watching a maybe illicit stream of of

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Speaker 3: a movie or something, and the ads just pop in wherever.

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Speaker 3: It's hilarious.

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Speaker 2: Yeah, yeah, you know, I was thinking about this recently

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Speaker 2: as well, not only in watching Gargoyles, which has these moments,

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Speaker 2: but also as a family we've been watching and for

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Speaker 2: my wife and I rewatching the sci fi series Firefly, Oh,

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Speaker 2: which you know I love back in the day. I'm

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Speaker 2: getting reacquainted with now. The footage is not the most

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Speaker 2: restored that I've seen, so it feels a little rough

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Speaker 2: around the edges and places, but still very fresh in

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Speaker 2: many other ways. But it has those those obvious, baked

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Speaker 2: in commercial breaks where things lead up, you know, you

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Speaker 2: get to kind of like a little crescendo and then

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Speaker 2: there's just a little bit darkarkness and then you come

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Speaker 2: back and you know, for someone like our kids, seemed

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Speaker 2: less and less of that, So they're like, what's what's

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Speaker 2: going on here? Why don't we keep having these moments?

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Speaker 2: So they go, yeah, those are commercial breaks. Those were

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Speaker 2: those were necessary, mandated and you know, clearly constructed around Yeah.

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Speaker 3: So the authors of this book talk about how it's

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Speaker 3: been recognized for a while that, or at least argued

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Speaker 3: by other scholars previously, that the need for commercial breaks

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Speaker 3: is especially devastating to horror as a as a genre

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Speaker 3: for storytelling because it interrupts the narrative flow and the

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Speaker 3: building of tension that is supposed to take place in

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Speaker 3: a horror story. But also they cite again the scholar

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Speaker 3: named Waller who says that it's really a problem that

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Speaker 3: the advertisements coming in in the middle of the story

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Speaker 3: quote themselves serve as reassurance that all is well in

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Speaker 3: the world and I can see what's going on there.

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Speaker 3: But then coming back on the other side, the authors

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Speaker 3: talk about how writers try to get around this by

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Speaker 3: of course structuring the story with these kind of mini climaxes,

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Speaker 3: placing breaks after each one. That's like what you were

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Speaker 3: just talking about, you know, the where even when the

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Speaker 3: commercials are no longer present, you're just watching it as

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Speaker 3: one continuous thing. You can feel where the commercial breaks are.

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Speaker 2: Yeah, and I have to admit at times watching Gargoles,

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Speaker 2: I really kind of wanted to see those commercials. What

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Speaker 2: would they have been, you know.

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Speaker 3: I want to see commercials for Towbor, the International Ladies

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Speaker 3: Garment Workers Union, all the good ones. But anyway, this

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Speaker 3: got me thinking about how there are multiple ways to

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Speaker 3: write around the idea of commercial breaks. The authors here

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Speaker 3: are talking about trying to structure it with many climaxes

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Speaker 3: before a commercial break, so the break doesn't unnecessarily cut

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Speaker 3: into the tension you're building. But I was thinking about

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Speaker 3: how it's actually often the case that people will try

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Speaker 3: to have a commercial break occurring right at a moment

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Speaker 3: of suspense, you know, like the door is opening, and

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Speaker 3: then you cut to commercial to I guess the ideas

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Speaker 3: that will leave you hanging and make you avoid changing

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Speaker 3: the channel during the commercial because you want to see

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Speaker 3: what happens next. I think that can lead made for

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Speaker 3: TV horror to feel kind of hokey that often does

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Speaker 3: not play very well. But at the same time, in

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Speaker 3: rare cases, I think the juxtaposition between story and commercial

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Speaker 3: breaks can itself be uncanny, like made for TV horror

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Speaker 3: with commercial breaks works especially well. I think in stories

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Speaker 3: where everything seems to be right with the world, but

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Speaker 3: there are hidden threats lurking behind a facade of everyday life.

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Speaker 3: It's kind of making you question the sort of interactions

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Speaker 3: and media that you go through every single day. You know,

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Speaker 3: that can kind of play well when suddenly it cuts

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Speaker 3: away to people trying to manipulate you by capturing your

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Speaker 3: tension and selling you on something.

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Speaker 2: I could see that definitely having been the case with

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Speaker 2: Death Moon. Because Death Moon if you don't familiar, if

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Speaker 2: you're not familiar with it or you don't remember the episode.

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Speaker 2: This is about an overworked man going on a vacation

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Speaker 2: to Hawaii where he begins to change into a werewolf.

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Speaker 2: Much of what occurs in the film, though, is exactly

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Speaker 2: the kind of life that advertisements might have been selling

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Speaker 2: you on. You know, like a successful single man, you know,

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Speaker 2: looking for love, you know, working hard, but trying to

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Speaker 2: play hard a little bit as well, but then also

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Speaker 2: changing into a murderous monster at night.

433
00:24:36,760 --> 00:24:41,000
Speaker 3: Yeah, he's a dapper dan man, but yeah, gargoyles.

434
00:24:41,520 --> 00:24:43,679
Speaker 2: I don't know, it's maybe a harder case than you made.

435
00:24:44,119 --> 00:24:47,320
Speaker 3: Yeah, I don't think it really fits that. As I've said,

436
00:24:46,680 --> 00:24:50,760
Speaker 3: I do think Gargoyles is very entertaining. There are some

437
00:24:50,960 --> 00:24:54,160
Speaker 3: elements of it that kind of work pretty well as intended.

438
00:24:54,520 --> 00:25:00,080
Speaker 3: It's definitely funny in some ways. I don't know how well,

439
00:25:00,080 --> 00:25:03,040
Speaker 3: at least for me, it holds up as actual horror building,

440
00:25:03,040 --> 00:25:08,040
Speaker 3: actual horror tens. But I do want to say I

441
00:25:08,080 --> 00:25:13,080
Speaker 3: think there is a special esthetic weirdness, and more specifically,

442
00:25:13,560 --> 00:25:17,680
Speaker 3: I would say a bleakness to the handful of made

443
00:25:17,720 --> 00:25:20,480
Speaker 3: for TV horror movies that I've seen from the seventies.

444
00:25:21,359 --> 00:25:23,240
Speaker 3: I don't know if I have exactly the right words

445
00:25:23,280 --> 00:25:27,200
Speaker 3: to explain this, but as close as I can get

446
00:25:27,320 --> 00:25:30,879
Speaker 3: is a couple of things. One is that they often

447
00:25:31,040 --> 00:25:37,520
Speaker 3: kind of incorporate a slightly alarming feeling of numbness, like

448
00:25:37,560 --> 00:25:40,960
Speaker 3: a spiritual an hedonia. Do you know what I'm talking about?

449
00:25:40,960 --> 00:25:44,840
Speaker 2: It all? Yeah? Yeah, I mean this. You know, it's

450
00:25:44,880 --> 00:25:47,720
Speaker 2: impossible to think about these pictures without thinking about, like,

451
00:25:47,720 --> 00:25:51,040
Speaker 2: what's going on in the nineteen seventies, late nineteen seventies,

452
00:25:51,040 --> 00:25:55,359
Speaker 2: early seventies. Wherever a predicture work particular work happens to fall.

453
00:25:55,520 --> 00:26:00,640
Speaker 2: You know, you know, what does it say about about

454
00:26:00,680 --> 00:26:03,240
Speaker 2: the zeitgeist at the time and the like the general

455
00:26:03,400 --> 00:26:06,000
Speaker 2: like feeling about the world and about your place in

456
00:26:06,040 --> 00:26:09,199
Speaker 2: the world. And I guess, you know, part of that

457
00:26:09,280 --> 00:26:12,399
Speaker 2: comes out of like like being a kid who was

458
00:26:12,440 --> 00:26:14,199
Speaker 2: born in the seventies. You know, it's kind of like

459
00:26:14,280 --> 00:26:17,439
Speaker 2: this is this is the world that I like emerge from,

460
00:26:17,480 --> 00:26:19,720
Speaker 2: Like this is the alchemy that produced me. It's like,

461
00:26:19,800 --> 00:26:21,440
Speaker 2: what does it say about the world I came from?

462
00:26:21,440 --> 00:26:22,959
Speaker 2: What does it say about who I am now? And

463
00:26:23,000 --> 00:26:23,520
Speaker 2: so forth?

464
00:26:24,000 --> 00:26:26,679
Speaker 3: Yeah, Well, I don't mean this at all as a

465
00:26:26,680 --> 00:26:29,480
Speaker 3: commentary on you where the world you came from. But

466
00:26:29,840 --> 00:26:31,520
Speaker 3: the thing I mean is, I don't know, there's this

467
00:26:31,680 --> 00:26:36,639
Speaker 3: background feeling in these movies of kind of searching after

468
00:26:36,840 --> 00:26:40,640
Speaker 3: pleasures that can no longer satisfy or something like that,

469
00:26:41,040 --> 00:26:43,720
Speaker 3: this kind of emptiness and longing.

470
00:26:44,160 --> 00:26:50,199
Speaker 2: Yeah, the post nineteen sixties world, you know, to invoke

471
00:26:50,240 --> 00:26:53,000
Speaker 2: the famous quote by Hunter S. Thompson, you know, after

472
00:26:53,000 --> 00:26:57,800
Speaker 2: the wave has has crested and fallen and fallen back

473
00:26:58,160 --> 00:27:01,119
Speaker 2: from where we are now. Yeah, often a sense of

474
00:27:01,119 --> 00:27:04,879
Speaker 2: that vibe. And at the same time there's also a

475
00:27:04,960 --> 00:27:07,040
Speaker 2: part of it again coming back to having been born

476
00:27:07,040 --> 00:27:10,000
Speaker 2: in the seventies, like, these pictures sort of feel like home,

477
00:27:10,080 --> 00:27:12,560
Speaker 2: and I want and I feel comfortable in them, and

478
00:27:12,600 --> 00:27:16,320
Speaker 2: they make me want to to some extent, not to

479
00:27:16,440 --> 00:27:18,520
Speaker 2: like a literal extent, but it makes me, to some

480
00:27:18,600 --> 00:27:21,040
Speaker 2: extent like want to crawl into them and inhabit that

481
00:27:21,160 --> 00:27:24,560
Speaker 2: world and find some sort of safety there that, of course,

482
00:27:24,640 --> 00:27:26,919
Speaker 2: you know, has no real connection to what the nineteen

483
00:27:26,920 --> 00:27:30,240
Speaker 2: seventies were actually like or certainly the world's depicted in

484
00:27:30,280 --> 00:27:30,840
Speaker 2: these films.

485
00:27:31,040 --> 00:27:35,000
Speaker 3: I belong in this gargoyle cave. But the other thing

486
00:27:35,040 --> 00:27:38,600
Speaker 3: I was thinking is that because these made for TV

487
00:27:38,720 --> 00:27:44,320
Speaker 3: movies are restricted to FCC content standards, nothing ever gets

488
00:27:44,480 --> 00:27:47,640
Speaker 3: north of PG you know, they're fairly tame. This one

489
00:27:47,760 --> 00:27:51,120
Speaker 3: is often singled out for being especially frightening and violent

490
00:27:51,400 --> 00:27:54,680
Speaker 3: by TV standards, but even in this case, I would

491
00:27:54,680 --> 00:27:58,200
Speaker 3: say it is very tame compared to the horror movies

492
00:27:58,240 --> 00:28:00,919
Speaker 3: of the same time. In his you know this is

493
00:28:00,960 --> 00:28:03,359
Speaker 3: not The Exorcist.

494
00:28:03,240 --> 00:28:04,040
Speaker 2: Oh certainly not.

495
00:28:04,520 --> 00:28:10,119
Speaker 3: And because of that, there is counterintuitively a feeling of

496
00:28:10,640 --> 00:28:16,200
Speaker 3: restrained viciousness that is actually quite menacing when you focus

497
00:28:16,280 --> 00:28:19,119
Speaker 3: on it. It's like the made for TV horror movie

498
00:28:19,640 --> 00:28:22,760
Speaker 3: asks you to imagine the version of the story that

499
00:28:22,840 --> 00:28:24,199
Speaker 3: you could not be shown.

500
00:28:25,160 --> 00:28:26,800
Speaker 2: Yeah, that's true, that's true.

501
00:28:27,200 --> 00:28:29,720
Speaker 3: Anyway, That's all I've got on made for TV horror

502
00:28:29,800 --> 00:28:32,040
Speaker 3: right now. But maybe we can revisit this topic as.

503
00:28:31,960 --> 00:28:34,280
Speaker 2: We go on. Oh absolutely, absolutely, and I'm sure it

504
00:28:34,280 --> 00:28:36,480
Speaker 2: will also come back to more made for TV horror

505
00:28:36,520 --> 00:28:37,120
Speaker 2: in the future.

506
00:28:37,720 --> 00:28:39,360
Speaker 3: I mean, as we just read, there are at least

507
00:28:39,360 --> 00:28:43,000
Speaker 3: one hundred of them by nineteen eighty seven, so you.

508
00:28:42,920 --> 00:28:46,240
Speaker 2: Know, there's some real dogs in there, but probably plenty

509
00:28:46,240 --> 00:28:47,280
Speaker 2: of other gems as well.

510
00:28:47,520 --> 00:28:49,280
Speaker 3: Is Dracula's dog one of them?

511
00:28:49,600 --> 00:28:52,000
Speaker 2: Ooh yeah, maybe so maybe, so we'll come back to

512
00:28:52,120 --> 00:29:04,200
Speaker 2: Dracula's dog in this episode. All right, elevator pitch. I'm

513
00:29:04,200 --> 00:29:07,880
Speaker 2: gonna invoke Jimmy Rodgers Desert Blues here and say, way

514
00:29:07,960 --> 00:29:10,760
Speaker 2: out on the windswept desert where nature favors no man,

515
00:29:10,840 --> 00:29:14,600
Speaker 2: the gargoyle found Diana at rest on the sun baked sand.

516
00:29:15,080 --> 00:29:18,440
Speaker 2: That's beautiful. Now, I do not have some trailer audio

517
00:29:18,520 --> 00:29:21,400
Speaker 2: to include here. I'd really hope to find a little

518
00:29:21,480 --> 00:29:25,520
Speaker 2: like CBS promo like tonight on the CBS New Tuesday

519
00:29:25,600 --> 00:29:27,880
Speaker 2: Night Movie, but I could not find anything. I found

520
00:29:27,880 --> 00:29:30,600
Speaker 2: some things that might have been legitimate trailers of the

521
00:29:30,680 --> 00:29:36,200
Speaker 2: day other things that were definitely creations from a later point,

522
00:29:36,800 --> 00:29:38,720
Speaker 2: so we'll just have to imagine what it might have

523
00:29:38,800 --> 00:29:39,400
Speaker 2: consisted of.

524
00:29:40,080 --> 00:29:42,680
Speaker 3: See, this is what I want AI to help with.

525
00:29:42,840 --> 00:29:45,440
Speaker 3: When there's like footage that you know is out there

526
00:29:45,520 --> 00:29:48,760
Speaker 3: but doesn't have the proper metadata and you can't locate it,

527
00:29:48,880 --> 00:29:51,080
Speaker 3: that's what I want AI to help me do is

528
00:29:51,240 --> 00:29:54,360
Speaker 3: find that promo for the CBS movie.

529
00:29:54,840 --> 00:29:59,200
Speaker 2: Oh well, sorry, it's gonna make whole podcasts instead. All right,

530
00:29:59,280 --> 00:30:02,000
Speaker 2: So if you you want to see Gargoyles, luckily it

531
00:30:02,040 --> 00:30:04,400
Speaker 2: is widely available, and it's been widely available for a while.

532
00:30:04,560 --> 00:30:06,920
Speaker 2: There have been a few different vhs and DVD releases.

533
00:30:07,560 --> 00:30:11,520
Speaker 2: Ideal viewing is of course, on an old school television set,

534
00:30:11,880 --> 00:30:14,480
Speaker 2: but you know, do what you can with what you have.

535
00:30:15,200 --> 00:30:17,400
Speaker 2: There's been no Blu ray release that I'm aware of,

536
00:30:18,080 --> 00:30:21,240
Speaker 2: and it's widely available on streaming right now, like various

537
00:30:21,400 --> 00:30:24,160
Speaker 2: legitimate streaming platforms have at you can. I think you

538
00:30:24,160 --> 00:30:26,600
Speaker 2: can find a few different versions of it on YouTube

539
00:30:26,600 --> 00:30:27,080
Speaker 2: as well.

540
00:30:27,560 --> 00:30:30,480
Speaker 3: I'm sorry, you're not allowed to watch this movie unless

541
00:30:30,520 --> 00:30:33,000
Speaker 3: at least seventy percent of the mass of your TV

542
00:30:33,240 --> 00:30:34,040
Speaker 3: is wood.

543
00:30:34,280 --> 00:30:36,800
Speaker 2: Yeah, yeah, big wooden television set let's serve you well

544
00:30:36,840 --> 00:30:39,200
Speaker 2: here all right, Well, let's get into the people behind

545
00:30:39,240 --> 00:30:42,040
Speaker 2: this picture, starting at the top with the director. It's

546
00:30:42,080 --> 00:30:46,360
Speaker 2: Bill Norton born nineteen forty three American director Norton. Here

547
00:30:46,440 --> 00:30:49,520
Speaker 2: was coming off of his most well regarded feature film,

548
00:30:49,600 --> 00:30:53,760
Speaker 2: his first nineteen seventy one Cisco Pike, starring Chris Kristofferson,

549
00:30:54,120 --> 00:30:58,680
Speaker 2: Karen Black, Harry Dean Stanton, and Gene Hackman. Rip'ed all

550
00:30:59,120 --> 00:31:02,920
Speaker 2: four of those individuals. Norton also co wrote the movie

551
00:31:02,960 --> 00:31:06,440
Speaker 2: Cisco Pike. Gargoyles was his follow up, and he went

552
00:31:06,480 --> 00:31:10,480
Speaker 2: on to direct More American Graffiti in seventy nine, as

553
00:31:10,480 --> 00:31:13,479
Speaker 2: well as another film that I've seen, Baby Secret of

554
00:31:13,520 --> 00:31:16,320
Speaker 2: the Lost Legend. This is a nineteen eighty five film

555
00:31:16,320 --> 00:31:18,240
Speaker 2: about people going to the jungle and finding a cute

556
00:31:18,280 --> 00:31:21,720
Speaker 2: baby dinosaur. Definitely watched this so on VHS as a kid,

557
00:31:22,240 --> 00:31:25,160
Speaker 2: and he also did a lot of TV work, both

558
00:31:25,280 --> 00:31:29,160
Speaker 2: series and films. His credits include episodes of Buffy the

559
00:31:29,240 --> 00:31:33,120
Speaker 2: Vampire Slayer as well as the nineteen eighties Twilight Zone revival.

560
00:31:33,440 --> 00:31:36,000
Speaker 3: Okay, I looked up Baby Secret of the Lost Legend.

561
00:31:36,360 --> 00:31:38,560
Speaker 3: I want to assure people it's cuter than what I

562
00:31:38,600 --> 00:31:41,200
Speaker 3: had in mind, which was the baby from the TV

563
00:31:41,240 --> 00:31:42,240
Speaker 3: show Dinosaurs.

564
00:31:43,200 --> 00:31:45,520
Speaker 2: Yeah, this is a different baby dinosaur. This is like

565
00:31:46,120 --> 00:31:50,200
Speaker 2: Brontosaurus or something to that effect, some sort of sarapot.

566
00:31:50,840 --> 00:31:53,360
Speaker 3: The original poster for it is kind of nice. It

567
00:31:54,200 --> 00:31:57,360
Speaker 3: has that old school jungle adventure look. A more recent

568
00:31:57,520 --> 00:31:59,600
Speaker 3: poster for it. I guess this is box art for

569
00:31:59,600 --> 00:32:02,960
Speaker 3: a re release of the DVD. Seems to steal the

570
00:32:03,040 --> 00:32:04,520
Speaker 3: visual theme of Jurassic Park.

571
00:32:05,160 --> 00:32:07,760
Speaker 2: Oh well, you know, it made sense. It's like, look

572
00:32:07,800 --> 00:32:10,120
Speaker 2: around and see, wow, this dinosaur movie is really making

573
00:32:10,160 --> 00:32:12,920
Speaker 2: a lot of money. Well, we have one already on

574
00:32:12,960 --> 00:32:16,920
Speaker 2: the shelf, ready to go. Let's go ahead and bust

575
00:32:16,960 --> 00:32:19,560
Speaker 2: it out. I don't remember anything else about it except

576
00:32:19,920 --> 00:32:24,000
Speaker 2: scenes where they're engaging with the dinosaur in the jungle.

577
00:32:24,280 --> 00:32:26,800
Speaker 3: As I said, haven't seen it, but it looks to

578
00:32:26,840 --> 00:32:29,160
Speaker 3: me like it fits in the e Walk adventure kind

579
00:32:29,200 --> 00:32:29,959
Speaker 3: of market.

580
00:32:30,400 --> 00:32:34,920
Speaker 2: Yeah, yeah, definitely. With a score by Jerry Goldsman. All right,

581
00:32:35,400 --> 00:32:38,400
Speaker 2: moving on to the writing. This is the work of

582
00:32:38,600 --> 00:32:42,360
Speaker 2: the husband and wife writing duo of Stephen Karf and

583
00:32:42,440 --> 00:32:46,560
Speaker 2: Eleanor Karf. Stephen was born in nineteen thirty nine. Eleanor

584
00:32:46,680 --> 00:32:50,800
Speaker 2: lived nineteen thirty nine through twenty thirteen. Their credits include

585
00:32:50,880 --> 00:32:54,440
Speaker 2: the nineteen eighties daytime soap opera Capital, four, episodes of

586
00:32:54,520 --> 00:32:57,880
Speaker 2: Kung Fu, and the nineteen seventy eight TV movie Devil

587
00:32:57,920 --> 00:33:00,520
Speaker 2: Dog the Hound of Hell starring Krenna.

588
00:33:01,120 --> 00:33:03,840
Speaker 3: Oh that's the one we keep thinking is called Dracula's Dog.

589
00:33:04,000 --> 00:33:07,360
Speaker 2: No, this is a different one. Oh yeah, there's Devil

590
00:33:07,400 --> 00:33:10,360
Speaker 2: Dog Hound of Hell. And then there's Dracula's Dog, which

591
00:33:10,400 --> 00:33:12,000
Speaker 2: we will come back to in a bit because it

592
00:33:12,240 --> 00:33:14,120
Speaker 2: also is connected to this movie. And so.

593
00:33:16,800 --> 00:33:19,400
Speaker 3: I can't even count our blessings today.

594
00:33:20,720 --> 00:33:26,280
Speaker 2: All right. Getting into the cast top build is Cornell Wilde,

595
00:33:26,280 --> 00:33:30,240
Speaker 2: playing the character of doctor Mercer Bowley. Wild lived nineteen

596
00:33:30,240 --> 00:33:34,320
Speaker 2: twelve through nineteen eighty nine. Hungarian born American actor of stage, screen,

597
00:33:34,400 --> 00:33:37,440
Speaker 2: and TV, who is nominated for an Oscar for nineteen

598
00:33:37,520 --> 00:33:39,760
Speaker 2: forty six. Is A Song to Remember, in which he

599
00:33:39,840 --> 00:33:44,240
Speaker 2: starred and nominated for a Hugo Award in nineteen seventy four,

600
00:33:44,360 --> 00:33:48,680
Speaker 2: No Blade of Grass, which he directed. His uncredited acting

601
00:33:48,680 --> 00:33:50,600
Speaker 2: where it goes back to the mid nineteen thirties and

602
00:33:50,640 --> 00:33:54,040
Speaker 2: it's His actual credits include nineteen fifty two's The Greatest

603
00:33:54,080 --> 00:33:56,840
Speaker 2: Show on Earth and episodes of Such TV shows as

604
00:33:56,840 --> 00:34:01,000
Speaker 2: I Love Lucy Night Gallery, Fantasy Island, and Murder, she wrote.

605
00:34:01,120 --> 00:34:04,200
Speaker 2: He's also in Charles B. Pearce's nineteen seventy eight Viking

606
00:34:04,280 --> 00:34:05,480
Speaker 2: movie The Norseman.

607
00:34:05,880 --> 00:34:07,840
Speaker 3: Oh I've never seen that, but that's been on my

608
00:34:07,920 --> 00:34:10,480
Speaker 3: radar for a while. Charles B. Pearce is the buggy

609
00:34:10,520 --> 00:34:11,200
Speaker 3: Creek guy.

610
00:34:11,080 --> 00:34:15,360
Speaker 2: Right correct, Yes, yeah, yeah, yeah. He did one Viking epic.

611
00:34:17,040 --> 00:34:21,200
Speaker 2: So there's a lot to say about this character, not

612
00:34:21,239 --> 00:34:22,960
Speaker 2: really as much as say about the performance. I mean,

613
00:34:22,960 --> 00:34:24,399
Speaker 2: Cornell wild is fine in this.

614
00:34:25,360 --> 00:34:27,480
Speaker 3: He's playing it just right down the middle.

615
00:34:27,360 --> 00:34:30,720
Speaker 2: Right down the middle he does. There is a major

616
00:34:31,160 --> 00:34:33,200
Speaker 2: you know, I could be shirtless in this scene energy

617
00:34:33,320 --> 00:34:36,319
Speaker 2: in this film, which makes sense once he takes his

618
00:34:36,360 --> 00:34:39,000
Speaker 2: shirt off. So he was in his sixties at this point,

619
00:34:39,160 --> 00:34:41,360
Speaker 2: and I was looking back at I wasn't super familiar

620
00:34:41,360 --> 00:34:43,919
Speaker 2: with Cornell Wilde's work, but looking back through his filmography,

621
00:34:44,080 --> 00:34:48,160
Speaker 2: he was off in shirtless. So you know, kudos to

622
00:34:48,239 --> 00:34:51,240
Speaker 2: him for being in such great shape at age sixty.

623
00:34:51,560 --> 00:34:54,279
Speaker 3: I can't believe he's in his sixties, can't believe how

624
00:34:54,320 --> 00:34:57,799
Speaker 3: good he looks. I was thinking he did not look

625
00:34:57,880 --> 00:35:01,759
Speaker 3: old enough to be Jennifer Saltz's Cater's dad, Like, yeah,

626
00:35:02,280 --> 00:35:05,560
Speaker 3: she's She's apparently supposed to be like thirty, and I

627
00:35:05,680 --> 00:35:08,000
Speaker 3: was reading him as like, I don't know, early forties.

628
00:35:08,400 --> 00:35:12,040
Speaker 2: Yeah, yeah, yeah, I mean that's one of the reasons

629
00:35:12,040 --> 00:35:15,560
Speaker 2: he had such a long career. But the character here,

630
00:35:15,840 --> 00:35:17,920
Speaker 2: there's much, there's much, I don't know how much we

631
00:35:17,920 --> 00:35:20,799
Speaker 2: want to get into right now, but he's maybe not

632
00:35:20,840 --> 00:35:23,520
Speaker 2: the most likable protagonists. Like not to say he's in

633
00:35:23,680 --> 00:35:29,040
Speaker 2: like full blown anti hero domain or anything, but a

634
00:35:29,040 --> 00:35:31,640
Speaker 2: lot of a lot of questions early on, like this

635
00:35:31,640 --> 00:35:33,480
Speaker 2: is really the guy we're gonna stick with? This is

636
00:35:33,480 --> 00:35:33,839
Speaker 2: our hero.

637
00:35:34,560 --> 00:35:36,960
Speaker 3: This is not on Cornell Wilde as an actor, but

638
00:35:37,120 --> 00:35:40,160
Speaker 3: just the way the character is written is strange. He's

639
00:35:40,280 --> 00:35:44,000
Speaker 3: characterized oddly from the get go with the they make

640
00:35:44,120 --> 00:35:49,080
Speaker 3: some strange choices about his level of sincerity in his

641
00:35:49,120 --> 00:35:52,120
Speaker 3: own work, and then also at the end, yeah he

642
00:35:52,360 --> 00:35:55,799
Speaker 3: he you really get into like, wait, who's the real

643
00:35:55,880 --> 00:35:58,320
Speaker 3: bad guy here? Territory that does not seem to be

644
00:35:58,400 --> 00:35:59,560
Speaker 3: acknowledged by the film.

645
00:36:00,080 --> 00:36:03,799
Speaker 2: Yeah, yeah, I agree. Now, playing his daughter, Diana, who

646
00:36:03,800 --> 00:36:07,359
Speaker 2: we just mentioned, is Jennifer Salt born nineteen forty two

647
00:36:07,400 --> 00:36:10,560
Speaker 2: American actress who previously appeared in nineteen sixty Nine's A

648
00:36:10,560 --> 00:36:15,800
Speaker 2: Midnight Cowboy, which her father Waldo Salt wrote the Academy

649
00:36:15,800 --> 00:36:18,920
Speaker 2: Award winning screenplay for. She was also in seventy two's

650
00:36:18,960 --> 00:36:23,120
Speaker 2: Played Again Sam for TV and sixty five episodes of

651
00:36:23,160 --> 00:36:26,920
Speaker 2: the TV series Soap. She's remained very active as a producer,

652
00:36:26,960 --> 00:36:30,520
Speaker 2: and this is interesting talking about TV horror because she

653
00:36:31,960 --> 00:36:35,600
Speaker 2: is Slash was a producer on American Horror Story, which

654
00:36:36,080 --> 00:36:40,000
Speaker 2: is in a totally different TV horror ecosystem than what

655
00:36:40,040 --> 00:36:43,320
Speaker 2: we have in the nineteen seventies, but notable.

656
00:36:43,320 --> 00:36:47,600
Speaker 3: Nonetheless, you know who though in this would really fit

657
00:36:47,680 --> 00:36:50,400
Speaker 3: in on the season of American Horror Story would be

658
00:36:50,520 --> 00:36:52,600
Speaker 3: Grayson Hall as Miss Parks. Doesn't that Oh?

659
00:36:52,760 --> 00:36:52,960
Speaker 2: Yes?

660
00:36:53,320 --> 00:36:54,920
Speaker 3: Like an American Horror Story character.

661
00:36:55,239 --> 00:36:58,520
Speaker 2: I would say, yeah, out out of the characters we encounter, definitely,

662
00:36:58,600 --> 00:37:02,960
Speaker 2: definitely speaking yeah of Grayson Hall, her character Miss Parks.

663
00:37:04,040 --> 00:37:07,960
Speaker 2: This is our noisy hotel lady who is always nursing

664
00:37:08,040 --> 00:37:10,000
Speaker 2: a water glass half full of dark liquor.

665
00:37:10,360 --> 00:37:14,600
Speaker 3: You know, Julian from Trailer Park Boys.

666
00:37:16,120 --> 00:37:20,279
Speaker 2: Yeah, yeah. So. Grayson Hall lived nineteen twenty two through

667
00:37:20,320 --> 00:37:24,000
Speaker 2: nineteen eighty five an American actress who was nominated for

668
00:37:24,040 --> 00:37:27,080
Speaker 2: an Oscar for her supporting role in nineteen sixty five's

669
00:37:27,080 --> 00:37:30,000
Speaker 2: The Night of the Iguana, directed by John Houston, and

670
00:37:30,080 --> 00:37:33,200
Speaker 2: she's perhaps best known for playing the psychologist doctor Julia

671
00:37:33,280 --> 00:37:37,120
Speaker 2: Hoffman on TV's Dark Shadows and the nineteen seventy movie

672
00:37:37,200 --> 00:37:42,400
Speaker 2: House of Dark Shadows. I'm only vaguely familiar with the

673
00:37:42,480 --> 00:37:45,200
Speaker 2: Dark Shadows world via seeing like bits and pieces of

674
00:37:45,239 --> 00:37:47,560
Speaker 2: episode I think on the Sci Fi Channel back in

675
00:37:47,600 --> 00:37:51,400
Speaker 2: the nineties, but this was apparently a major character. This

676
00:37:51,560 --> 00:37:54,560
Speaker 2: was essentially, i think, originally sort of a Van Helsing

677
00:37:54,640 --> 00:37:57,840
Speaker 2: sort of character who becomes more of a collaborator with

678
00:37:58,120 --> 00:38:03,600
Speaker 2: the family of supernatural characters. Huh. Grayson Hall also appeared

679
00:38:03,600 --> 00:38:06,560
Speaker 2: in nineteen sixty two Satan in High Heels and nineteen

680
00:38:06,600 --> 00:38:11,680
Speaker 2: sixty five's That Darn Cat. I hear, it's pretty darned yeah,

681
00:38:12,000 --> 00:38:14,160
Speaker 2: But in this film, definite character work, you know, and

682
00:38:14,480 --> 00:38:16,600
Speaker 2: it's it's amusing for what it is.

683
00:38:17,000 --> 00:38:19,000
Speaker 3: So you mentioned she has a glass of liquor in

684
00:38:19,040 --> 00:38:21,920
Speaker 3: her hand in all of her scenes, which starts off being,

685
00:38:22,040 --> 00:38:25,000
Speaker 3: you know, she's in her apartment, or then she's walking

686
00:38:25,040 --> 00:38:28,320
Speaker 3: next door from her apartment to another apartment, but it

687
00:38:28,719 --> 00:38:32,720
Speaker 3: becomes increasingly absurd because in later scenes she's that way,

688
00:38:32,840 --> 00:38:36,080
Speaker 3: like in a police station or like getting into a

689
00:38:36,120 --> 00:38:37,359
Speaker 3: truck as a passenger.

690
00:38:37,760 --> 00:38:40,080
Speaker 2: Yeah, it's like it's glued to her hand or something.

691
00:38:40,120 --> 00:38:44,439
Speaker 2: It's absolutely part of her ensemble the whole time, all right,

692
00:38:45,080 --> 00:38:48,200
Speaker 2: playing the gargoyle, not the only gargoyle in the picture,

693
00:38:48,239 --> 00:38:51,160
Speaker 2: but the main gargoyle. The leader of the gargoyles is

694
00:38:51,239 --> 00:38:54,279
Speaker 2: Bernie Casey, who of nineteen thirty nine through twenty seventeen

695
00:38:55,040 --> 00:38:58,880
Speaker 2: NFL Pro football player turn actor, artist and poet. He

696
00:38:59,120 --> 00:39:01,239
Speaker 2: had to look up at the football details here for sure,

697
00:39:01,280 --> 00:39:03,759
Speaker 2: but he apparently played for the forty nine Ers and

698
00:39:03,800 --> 00:39:06,080
Speaker 2: the Rams, not at the same time, like one and

699
00:39:06,120 --> 00:39:08,359
Speaker 2: then the other. I don't remember which one came first.

700
00:39:08,360 --> 00:39:10,680
Speaker 2: I think forty nine Ers first, then the Rams played

701
00:39:10,680 --> 00:39:13,640
Speaker 2: for them in the nineteen sixties, and then made the

702
00:39:13,680 --> 00:39:17,600
Speaker 2: transition into acting first with nineteen sixty nine's Guns of

703
00:39:17,640 --> 00:39:20,640
Speaker 2: the Magnificent Seven. So at this point in his career

704
00:39:20,680 --> 00:39:22,960
Speaker 2: he'd had a string of credits, but it was still

705
00:39:22,960 --> 00:39:25,840
Speaker 2: pretty early, and this might be part of the reason

706
00:39:25,840 --> 00:39:28,919
Speaker 2: I'm guessing why his voice ends up being cut. More

707
00:39:28,920 --> 00:39:30,759
Speaker 2: on that in a minute. But we don't actually hear

708
00:39:30,800 --> 00:39:35,560
Speaker 2: Bernie Casey in the picture it's but still it's a

709
00:39:35,640 --> 00:39:39,879
Speaker 2: solid physical monster suit performance. Bernie Casey was like six',

710
00:39:40,000 --> 00:39:43,960
Speaker 2: four you, know and you, know strongly, built so he

711
00:39:44,239 --> 00:39:47,560
Speaker 2: occupies that monster suit rather well and looms very well

712
00:39:47,600 --> 00:39:51,799
Speaker 2: over the human. Characters also has very expressive eyes that work.

713
00:39:51,880 --> 00:39:54,279
Speaker 2: Well you, know all this works well to establish the

714
00:39:54,280 --> 00:39:56,160
Speaker 2: presence of the lead. Gargoyle.

715
00:39:56,719 --> 00:39:59,000
Speaker 3: YEAH i would say this is one of those cases

716
00:39:59,000 --> 00:40:03,000
Speaker 3: where the performance comes through even though the actor is

717
00:40:03,080 --> 00:40:05,919
Speaker 3: hidden behind makeup in a costume and we're not hearing

718
00:40:05,960 --> 00:40:08,920
Speaker 3: their original. Voice you. Know Some santo movies we've watched

719
00:40:08,920 --> 00:40:12,000
Speaker 3: are like, that where like a physical performance is good

720
00:40:12,080 --> 00:40:15,120
Speaker 3: enough that it gets through all of the apparatus and

721
00:40:15,960 --> 00:40:16,680
Speaker 3: through the.

722
00:40:16,719 --> 00:40:19,680
Speaker 2: Dubbing, yeah, YEAH i, mean and again coming back To spanish,

723
00:40:19,760 --> 00:40:23,120
Speaker 2: cinema Like Paul, nashy we almost never Hear Paul nashiy's actual,

724
00:40:23,200 --> 00:40:25,280
Speaker 2: voice and the same goes for a number Of spanish

725
00:40:25,360 --> 00:40:29,160
Speaker 2: actors at the. Time, so but, yeah So Bernie casey

726
00:40:29,320 --> 00:40:32,080
Speaker 2: is our. Gargoyle early on in his, career he appeared

727
00:40:32,080 --> 00:40:35,319
Speaker 2: in such black'sploitation pit titles As Black chariot seventy, One

728
00:40:35,400 --> 00:40:38,960
Speaker 2: Cleopatra jones seventy, three as well as seventy six Is

729
00:40:39,080 --> 00:40:42,680
Speaker 2: Doctor Black Mister hyde that we've mentioned that, before because

730
00:40:42,719 --> 00:40:47,280
Speaker 2: that was the follow up To blackula by Director William,

731
00:40:47,320 --> 00:40:50,000
Speaker 2: crane WHICH i haven't seen. Yet i've got the disc

732
00:40:51,280 --> 00:40:54,480
Speaker 2: but i've heard good things about, it AND i haven't

733
00:40:54,480 --> 00:40:57,799
Speaker 2: seen these other pictures THAT i just mentioned. Either and you,

734
00:40:57,800 --> 00:40:59,600
Speaker 2: know as we've talked about before when we've brought up

735
00:40:59,640 --> 00:41:03,399
Speaker 2: blacks exploitation cinema is that sometimes that's kind of a big,

736
00:41:03,480 --> 00:41:06,880
Speaker 2: tint and it may include films that are more or

737
00:41:07,000 --> 00:41:12,200
Speaker 2: less in the exploitive category of, things you. Know SO

738
00:41:12,440 --> 00:41:15,840
Speaker 2: i can't speak to any of these pictures, individually except

739
00:41:15,840 --> 00:41:17,680
Speaker 2: For Black, elow which we did an episode on last

740
00:41:17,760 --> 00:41:20,640
Speaker 2: year and recently re. Ran but out of This Bernie

741
00:41:20,719 --> 00:41:23,320
Speaker 2: casey ends up moving into all manner of, films Including

742
00:41:23,360 --> 00:41:27,480
Speaker 2: The Man Who fell To, earth which we previously discussed

743
00:41:27,520 --> 00:41:30,640
Speaker 2: On Weird, house a small but poignant. Part he won

744
00:41:30,680 --> 00:41:33,880
Speaker 2: a nineteen seventy FOUR Naacp Image award for his role In,

745
00:41:34,000 --> 00:41:37,600
Speaker 2: maury in which he starred Opposite Bose, vincent who is

746
00:41:37,640 --> 00:41:41,680
Speaker 2: Not frankenstein's monster in that. Picture subsequent film roles included

747
00:41:41,719 --> 00:41:44,960
Speaker 2: eighty One Sharky's, machine eighty Three's Never Say, Never, AGAIN

748
00:41:45,160 --> 00:41:48,600
Speaker 2: A James bond, picture eighty Four's revenge of The, nerds eighty,

749
00:41:48,600 --> 00:41:50,840
Speaker 2: Eight So I'm going To Get you sucka eighty Nine's

750
00:41:50,840 --> 00:41:54,680
Speaker 2: bill And Ted's Excellent adventure nineteen nineties and other forty Eight,

751
00:41:54,719 --> 00:41:57,319
Speaker 2: hours ninety, Twos Under, siege ninety five's in The mouth Of,

752
00:41:57,360 --> 00:42:01,080
Speaker 2: madness ninety Six's once on A Time When We Were,

753
00:42:01,120 --> 00:42:04,520
Speaker 2: colored and his final film was two thousand and Seven's Vegas.

754
00:42:04,600 --> 00:42:07,319
Speaker 2: Vampires he also did a fair amount OF tv, work

755
00:42:07,360 --> 00:42:12,000
Speaker 2: including seventy One's Brian, song nineteen, Eighties The Martian chronicles

756
00:42:12,400 --> 00:42:14,680
Speaker 2: based on the work Of Ray, bradberry And Star Trek

757
00:42:14,680 --> 00:42:18,000
Speaker 2: Deep space, nine among. Others Now. Again in this, picture

758
00:42:18,040 --> 00:42:20,799
Speaker 2: he is. Dubbed he's dubbed By Vic, perrin who's also

759
00:42:20,840 --> 00:42:24,040
Speaker 2: the narrator at the beginning of the. Picture paren lived

760
00:42:24,080 --> 00:42:26,719
Speaker 2: nineteen sixteen through nineteen eighty, nine perhaps best known as

761
00:42:27,000 --> 00:42:30,080
Speaker 2: the control voice on the Original Outer. Limits you know

762
00:42:30,160 --> 00:42:33,040
Speaker 2: we control the, horizontal we control the. Vertical he also

763
00:42:33,080 --> 00:42:35,520
Speaker 2: appeared on SUCH tv series as the Original Star trek

764
00:42:35,680 --> 00:42:36,640
Speaker 2: and the Original Mission.

765
00:42:36,640 --> 00:42:40,800
Speaker 3: Impossible they give him a real metallic voice in, this don't?

766
00:42:40,840 --> 00:42:44,120
Speaker 3: They he almost sounds like HE'S i don't, know echoing

767
00:42:44,160 --> 00:42:45,600
Speaker 3: through a ten box or.

768
00:42:45,640 --> 00:42:50,000
Speaker 2: Something, YEAH i can't SAY i loved, it BUT i

769
00:42:50,000 --> 00:42:52,719
Speaker 2: mean it works well. Enough AND i don't know what

770
00:42:52,760 --> 00:42:56,799
Speaker 2: the original audio sounded. LIKE i Think i've read that

771
00:42:56,800 --> 00:43:00,640
Speaker 2: the filmmakers just thought that the original vocal performs didn't

772
00:43:00,680 --> 00:43:04,000
Speaker 2: match the creature that they were, creating and you, know

773
00:43:04,040 --> 00:43:05,920
Speaker 2: they decided they needed to go With Vic. Pearen SO

774
00:43:06,560 --> 00:43:09,640
Speaker 2: i don't. Know and again early on in the career

775
00:43:09,640 --> 00:43:11,480
Speaker 2: of the Actor Bernie casey, here SO i don't know

776
00:43:11,520 --> 00:43:12,839
Speaker 2: if that played into it at all as.

777
00:43:12,880 --> 00:43:15,600
Speaker 3: Well, well no offense To Vic, peren but give us

778
00:43:15,640 --> 00:43:18,560
Speaker 3: The Bernie casey. Cut give it to us, cowards you've got.

779
00:43:18,600 --> 00:43:21,040
Speaker 2: It, YEAH i Mean Bernie casey had a great, voice

780
00:43:21,040 --> 00:43:23,400
Speaker 2: so you, Know i'd like to hear. It BUT i

781
00:43:23,480 --> 00:43:25,000
Speaker 2: looked around for, it in, fact BUT i couldn't find

782
00:43:25,000 --> 00:43:28,560
Speaker 2: any evidence of. It All, right moving on through the cast,

783
00:43:28,600 --> 00:43:32,560
Speaker 2: here we also Have Scott glenn popping up playing the Character.

784
00:43:32,680 --> 00:43:37,200
Speaker 2: James what is this Reager? Reger, yeah one of the

785
00:43:37,239 --> 00:43:37,719
Speaker 2: dirt bike.

786
00:43:37,760 --> 00:43:40,400
Speaker 3: Boys we didn't mention right at the top that this

787
00:43:40,680 --> 00:43:43,719
Speaker 3: in some ways is a gargoyles versus bikers.

788
00:43:43,800 --> 00:43:47,880
Speaker 2: Movie, yes, Yeah, eventually the threat of The gargoyles will

789
00:43:48,239 --> 00:43:52,319
Speaker 2: unite the natural enemies of bikers and cops will come

790
00:43:52,360 --> 00:43:56,279
Speaker 2: together to battle the gargoyle. Menace So Scott, GLENN i,

791
00:43:56,280 --> 00:43:58,239
Speaker 2: think is a name THAT i think most of you

792
00:43:58,239 --> 00:44:02,239
Speaker 2: are probably familiar, with perhaps born in nineteen thirty, nine

793
00:44:02,280 --> 00:44:05,320
Speaker 2: Though i've seen some pages and databases that are a

794
00:44:05,360 --> 00:44:08,560
Speaker 2: little vague on, this as if it's. Unknown but he

795
00:44:08,640 --> 00:44:11,400
Speaker 2: is still alive because he's very, Active like he's just

796
00:44:11,480 --> 00:44:14,440
Speaker 2: in THE tv Series Bad, monkey WHICH i really, enjoyed

797
00:44:14,840 --> 00:44:17,080
Speaker 2: and also he's in the latest season Of The White,

798
00:44:17,120 --> 00:44:21,480
Speaker 2: lotus so again very. Active Great american character, actor perhaps

799
00:44:21,600 --> 00:44:24,879
Speaker 2: most appreciated for those grizzled character roles that he would

800
00:44:24,880 --> 00:44:28,399
Speaker 2: do a mid and later, career but his, SCREEN tv

801
00:44:28,480 --> 00:44:30,799
Speaker 2: And broadway credits go back to the mid, sixties so

802
00:44:30,840 --> 00:44:33,200
Speaker 2: he'd already been in a handful of things Before. Gargoyles

803
00:44:33,920 --> 00:44:36,400
Speaker 2: he went on to appear In Apocalypse now in seventy,

804
00:44:36,480 --> 00:44:39,240
Speaker 2: nine which was kind of a shock to me because

805
00:44:39,239 --> 00:44:43,120
Speaker 2: he's largely unrecognizable to my eyes, anyway he's, bearded he's

806
00:44:43,400 --> 00:44:46,560
Speaker 2: kind of not one of the more prominent, characters but

807
00:44:46,880 --> 00:44:47,319
Speaker 2: he is in.

808
00:44:47,400 --> 00:44:50,120
Speaker 3: IT i don't remember that.

809
00:44:50,680 --> 00:44:54,279
Speaker 2: He's in More American, graffiti nineteen Eighty's Urban, cowboy and

810
00:44:54,320 --> 00:44:57,359
Speaker 2: he Plays rick in the nineteen eighty Two John frankenheimer

811
00:44:57,480 --> 00:45:02,239
Speaker 2: Kickboxer samurai Film The. Challenge, YEAH i haven't seen, it

812
00:45:02,239 --> 00:45:04,400
Speaker 2: But i'm familiar with. IT i Think i've watched the

813
00:45:04,400 --> 00:45:07,440
Speaker 2: trailer a few. Times but things really picked up at

814
00:45:07,440 --> 00:45:09,840
Speaker 2: this point in his career because He's the subsequent pictures

815
00:45:09,880 --> 00:45:12,279
Speaker 2: he was in included nineteen eighty Three Is The Right,

816
00:45:12,360 --> 00:45:15,480
Speaker 2: stuff in which he Plays Alan. Shepard he's In Michael

817
00:45:15,480 --> 00:45:19,000
Speaker 2: Mann's The, keep and his other credits include eighty Five, silverado,

818
00:45:19,160 --> 00:45:22,120
Speaker 2: Nineties The hunt For Red october ninety, One The silence

819
00:45:22,120 --> 00:45:24,920
Speaker 2: of The lambs two thousand and One's Training, day and

820
00:45:25,080 --> 00:45:28,919
Speaker 2: SUCH tv shows As, Daredevil The, leftovers and Again Bad.

821
00:45:28,960 --> 00:45:30,239
Speaker 2: Monkey in the latest season Of White.

822
00:45:30,280 --> 00:45:34,400
Speaker 3: Lotus, Uh i'm not gonna Say scott glenn is swinging

823
00:45:34,520 --> 00:45:37,759
Speaker 3: for the fences in this. Movie he's it feels like

824
00:45:37,800 --> 00:45:40,440
Speaker 3: he's just kind of turning in a workaday. Performance but

825
00:45:41,560 --> 00:45:44,239
Speaker 3: he's a good, actor so he does better than you

826
00:45:44,320 --> 00:45:47,440
Speaker 3: might imagine selling lines about you, know he's like in

827
00:45:47,480 --> 00:45:51,160
Speaker 3: a prison cell talking To Jennifer salt about whether gargoyles are,

828
00:45:51,200 --> 00:45:54,719
Speaker 3: real and he at one point he hasked to say

829
00:45:54,719 --> 00:45:57,080
Speaker 3: something like they were attacked by one of those gar,

830
00:45:57,320 --> 00:45:59,640
Speaker 3: things and you know he's making it.

831
00:45:59,680 --> 00:46:12,920
Speaker 2: Through, Yeah let's see a couple of small. Performers i'm

832
00:46:12,920 --> 00:46:15,720
Speaker 2: including them because you did a screenshot of their credit

833
00:46:15,760 --> 00:46:17,480
Speaker 2: at the. End we HAVE tv style credits at the

834
00:46:17,560 --> 00:46:21,440
Speaker 2: end of this picture where we see their picture in

835
00:46:21,680 --> 00:46:23,200
Speaker 2: the name of the actor the name of the. Character

836
00:46:23,719 --> 00:46:27,839
Speaker 2: we Have William stevens playing Police. Chief dates unknown as

837
00:46:27,840 --> 00:46:29,960
Speaker 2: far AS i could tell on this, actor mostly A

838
00:46:30,000 --> 00:46:32,640
Speaker 2: tv player whose credits include the Original Outer limits in

839
00:46:32,800 --> 00:46:37,080
Speaker 2: nineteen seventy One's The Mephisto. Waltz and then we also

840
00:46:37,160 --> 00:46:40,840
Speaker 2: Have John gruber Playing, jesse another cop who lived nineteen

841
00:46:40,880 --> 00:46:43,440
Speaker 2: forty two through nineteen eighty, one mostly A tv player

842
00:46:43,440 --> 00:46:47,160
Speaker 2: whose credits Include Night. Gallery now this according TO. IMDb

843
00:46:47,320 --> 00:46:50,360
Speaker 2: i have not been able to verify this, elsewhere BUT

844
00:46:50,440 --> 00:46:53,880
Speaker 2: IMDb claims that he is the father Of Joshua, todd

845
00:46:54,280 --> 00:46:57,440
Speaker 2: the lead singer often shirtless of the Band Buck. Cherry

846
00:46:59,200 --> 00:47:02,360
Speaker 2: AND i have to say this feels too random to

847
00:47:02,440 --> 00:47:06,439
Speaker 2: not be, true so please correct me If i'm wrong out,

848
00:47:06,440 --> 00:47:09,240
Speaker 2: there But i'm going to at least for now accept

849
00:47:09,239 --> 00:47:09,560
Speaker 2: this is.

850
00:47:10,200 --> 00:47:13,279
Speaker 3: Reality it would be a hilarious project to just make

851
00:47:13,360 --> 00:47:14,160
Speaker 3: up facts like.

852
00:47:14,239 --> 00:47:17,000
Speaker 2: That, YEAH i, MEAN i think people are that. Bored

853
00:47:17,000 --> 00:47:19,759
Speaker 2: they've done it before ON. IMDb so that's WHY i

854
00:47:19,800 --> 00:47:22,120
Speaker 2: do want to add the caveat that this might not be,

855
00:47:22,200 --> 00:47:25,239
Speaker 2: true but it also feels too weird and specific to

856
00:47:25,840 --> 00:47:26,520
Speaker 2: be anything but.

857
00:47:26,640 --> 00:47:30,319
Speaker 3: Reality you know this seventies actor you've never heard. Of

858
00:47:30,480 --> 00:47:32,240
Speaker 3: he's the dad of the like the cocaine.

859
00:47:32,320 --> 00:47:35,319
Speaker 2: Guy so, wait, wait they had a song about.

860
00:47:35,360 --> 00:47:38,440
Speaker 3: Cocaine that's the One Buck cherry. SONG i know you

861
00:47:38,480 --> 00:47:41,480
Speaker 3: know what the song. IS i love the. Cocaine oh,

862
00:47:41,560 --> 00:47:42,080
Speaker 3: MAN i.

863
00:47:42,120 --> 00:47:44,920
Speaker 2: Don't maybe maybe We're i'm remembering the same, song BUT

864
00:47:44,960 --> 00:47:46,560
Speaker 2: i didn't know what they were saying in. IT i

865
00:47:46,800 --> 00:47:49,319
Speaker 2: haven't thought About Buck cherry in a long. TIME i

866
00:47:49,400 --> 00:47:52,000
Speaker 2: just remember that he was like shirtless in the music.

867
00:47:52,080 --> 00:47:54,760
Speaker 2: VIDEOS i think we've got a lot of tattoos. Done, yeah,

868
00:47:54,840 --> 00:47:58,200
Speaker 2: yeah shirtless and, tattooed all? Right and then uh, oh

869
00:47:58,280 --> 00:48:02,480
Speaker 2: we have the character Of Uncle willie played By woodrow

870
00:48:02,600 --> 00:48:06,640
Speaker 2: Or Woody, chambliss who lived nineteen fourteen through nineteen eighty,

871
00:48:06,680 --> 00:48:09,960
Speaker 2: One american character actor of, stage, screen AND tv who

872
00:48:10,040 --> 00:48:13,720
Speaker 2: made numerous memorable appearances on THE tv Western gun. Smoke

873
00:48:14,280 --> 00:48:16,719
Speaker 2: and you know he has already popped up on Weird

874
00:48:16,719 --> 00:48:18,680
Speaker 2: house because he plays a very similar role In The

875
00:48:18,719 --> 00:48:20,520
Speaker 2: Devil's rain from nineteen seventy.

876
00:48:20,560 --> 00:48:24,719
Speaker 3: Five oh, yeah, yeah he just really slots right in

877
00:48:24,760 --> 00:48:27,800
Speaker 3: as the kind of weird old desert. Codure.

878
00:48:28,160 --> 00:48:30,200
Speaker 2: Yeah you need a weird old dude in the desert

879
00:48:30,239 --> 00:48:34,240
Speaker 2: mumbling about dark, secrets, well then call call Up woody

880
00:48:34,840 --> 00:48:38,200
Speaker 2: because he'll he can totally do. It his other credits

881
00:48:38,239 --> 00:48:41,880
Speaker 2: include nineteen fifty seven's three ten To yuma and nineteen

882
00:48:41,920 --> 00:48:45,440
Speaker 2: seventy Eight Sergeant Pepper's Lonely Hearts Club, band which of

883
00:48:45,480 --> 00:48:51,200
Speaker 2: course Starred Peter frampton and The. Begies i'm ALWAYS i

884
00:48:51,280 --> 00:48:53,680
Speaker 2: have had that revelation many times over the years that

885
00:48:53,719 --> 00:48:56,000
Speaker 2: this is not a movie with the Actual beatles in.

886
00:48:56,040 --> 00:48:58,760
Speaker 3: It, well you know what the song, Says Sergeant pepper

887
00:48:59,040 --> 00:49:01,680
Speaker 3: he taught the band, play so it's you, know it's

888
00:49:01,719 --> 00:49:02,719
Speaker 3: like the second. Generation.

889
00:49:03,239 --> 00:49:06,600
Speaker 2: YEAH i Think woody plays the like the Senior Sargant

890
00:49:06,640 --> 00:49:08,680
Speaker 2: peppers in, that BUT i Can't i've never seen, it

891
00:49:08,680 --> 00:49:10,560
Speaker 2: SO i can't say much on, that BUT i will

892
00:49:10,600 --> 00:49:12,800
Speaker 2: say That woody's a lot of fun in. THIS i

893
00:49:12,800 --> 00:49:16,680
Speaker 2: feel like it's perhaps the best performance in the whole, movie,

894
00:49:16,960 --> 00:49:20,399
Speaker 2: though as you mentioned, earlier it does change drastically over

895
00:49:20,400 --> 00:49:21,600
Speaker 2: the course of a commercial. Break.

896
00:49:21,760 --> 00:49:25,279
Speaker 3: Yeah he goes from shrewdly negotiating a book deal to

897
00:49:25,400 --> 00:49:29,440
Speaker 3: suddenly just being like shaky and drunk and clearly making

898
00:49:29,520 --> 00:49:32,360
Speaker 3: up lies about something about like folklore he was.

899
00:49:32,400 --> 00:49:35,680
Speaker 2: Told, yeah and he also goes from being like, like,

900
00:49:36,040 --> 00:49:38,480
Speaker 2: hey you need to help me write my book to

901
00:49:38,840 --> 00:49:40,600
Speaker 2: you believe me or you get out of my shed right,

902
00:49:40,640 --> 00:49:45,279
Speaker 2: Now and it happens rather rather. Swiftly, yeah all. Right

903
00:49:45,320 --> 00:49:49,120
Speaker 2: we mentioned that Stan winston was behind the look of the. Creatures,

904
00:49:49,160 --> 00:49:52,800
Speaker 2: indeed he is credited with The gargoyle. Makeup Stan winston

905
00:49:52,840 --> 00:49:55,400
Speaker 2: lived nineteen forty six through two thousand and. Eight legendary,

906
00:49:55,480 --> 00:49:58,080
Speaker 2: name multiple Time Oscar award winner and nominee for such

907
00:49:58,080 --> 00:50:02,640
Speaker 2: films as eighty Seven's alien, Eight, predator ninety One's Edward Scissor,

908
00:50:02,680 --> 00:50:05,640
Speaker 2: hands ninety Twos terminator, two and ninety Four's Jurassic. Park

909
00:50:06,360 --> 00:50:08,920
Speaker 2: he had studied sculpture and moved To hollywood to pursue

910
00:50:09,000 --> 00:50:10,960
Speaker 2: a career in, acting but ended up taking a makeup

911
00:50:11,000 --> 00:50:15,000
Speaker 2: apprenticeship At Walt Disney. Studios gargoyles was his first, picture

912
00:50:15,360 --> 00:50:17,880
Speaker 2: and he followed this up with a number of early

913
00:50:18,000 --> 00:50:21,479
Speaker 2: pictures of, note including nineteen seventy four as The Bat,

914
00:50:21,520 --> 00:50:24,760
Speaker 2: people WHICH i believe that one was featured On Mystery

915
00:50:24,760 --> 00:50:27,840
Speaker 2: Science theater and handsome as you'd, expect cool monster. Effects

916
00:50:28,360 --> 00:50:31,600
Speaker 2: he also did makeup on nineteen seventy Six's Doctor Black Mister,

917
00:50:31,719 --> 00:50:35,279
Speaker 2: hyde which we just. Mentioned his mini credits range from

918
00:50:35,360 --> 00:50:38,839
Speaker 2: small pictures to big, ones from serious dramas without any

919
00:50:38,880 --> 00:50:42,759
Speaker 2: kind of speculative element to just, horror sci fi and

920
00:50:42,800 --> 00:50:46,640
Speaker 2: fantasy pictures with extravagant visions of monsters and robots and

921
00:50:46,640 --> 00:50:48,840
Speaker 2: what have. You as a, director he gave us a

922
00:50:48,840 --> 00:50:53,319
Speaker 2: handful of, films including nineteen eighty Eight's. PUMPKINHEAD i will

923
00:50:53,360 --> 00:50:56,520
Speaker 2: also throw in, That. Yes his other credits include nineteen

924
00:50:56,560 --> 00:51:01,120
Speaker 2: seventy Seven's Dracula's dog Aka zoltan Of dracula.

925
00:51:01,040 --> 00:51:04,280
Speaker 3: Aka a different movie than the other one we, mentioned.

926
00:51:04,120 --> 00:51:07,040
Speaker 2: Right, Right, yeah they're a number OF i don't, know

927
00:51:07,120 --> 00:51:12,080
Speaker 2: is this like canine'sploitation. Cinema there's like a whole supernatural

928
00:51:12,200 --> 00:51:16,160
Speaker 2: dog cinematic universe out. There during the seventies and.

929
00:51:16,120 --> 00:51:19,440
Speaker 3: Eighties Satanicus, Rex The Bow wow Of.

930
00:51:19,520 --> 00:51:25,040
Speaker 2: Hell all, right and then finally the. Music the composer

931
00:51:25,080 --> 00:51:27,279
Speaker 2: here Is Robert, prince who lived nineteen twenty nine through

932
00:51:27,280 --> 00:51:29,480
Speaker 2: two thousand and. Seven and you, KNOW i often talk

933
00:51:29,520 --> 00:51:32,759
Speaker 2: about films that have a nineteen Seventies Night gallery, sound you,

934
00:51:32,760 --> 00:51:38,640
Speaker 2: know kind of slightly, surreal slightly disturbing music that's maybe

935
00:51:38,680 --> 00:51:42,160
Speaker 2: a little bit, jazzy AND i honestly can't get enough

936
00:51:42,160 --> 00:51:46,399
Speaker 2: of it with these. Films but today's selection certainly has that,

937
00:51:46,480 --> 00:51:50,080
Speaker 2: sound and the man responsible for it actually composed music

938
00:51:50,120 --> 00:51:52,960
Speaker 2: for episodes Of Night, gallery so not the theme song

939
00:51:53,360 --> 00:51:56,560
Speaker 2: From Night, gallery but he did do the episode music

940
00:51:56,719 --> 00:52:00,120
Speaker 2: for three season one. EPISODES i would say.

941
00:52:00,120 --> 00:52:04,799
Speaker 3: The music In gargoyles is for what it, is it's pretty.

942
00:52:04,840 --> 00:52:10,320
Speaker 3: Good there aren't really any especially memorable themes or melodies

943
00:52:10,440 --> 00:52:12,840
Speaker 3: or anything like, that but a lot of it's just

944
00:52:12,920 --> 00:52:16,959
Speaker 3: kind of, eerie ambient, sound and for that it's pretty.

945
00:52:17,000 --> 00:52:20,239
Speaker 2: GOOD i wonder how much of That AND i don't

946
00:52:20,239 --> 00:52:24,480
Speaker 2: know enough about how theme songs and episodic episodic music

947
00:52:24,560 --> 00:52:27,239
Speaker 2: worked ON tv in the, day BUT i wonder how

948
00:52:27,320 --> 00:52:30,120
Speaker 2: much of it was Around like you're not supposed to

949
00:52:30,160 --> 00:52:33,480
Speaker 2: stand out in the episode, itself like you don't want,

950
00:52:33,520 --> 00:52:35,359
Speaker 2: to you don't want to interfere with the theme. Song

951
00:52:35,520 --> 00:52:38,840
Speaker 2: like the theme song is doing the heavy lifting and

952
00:52:38,920 --> 00:52:43,000
Speaker 2: you're just here to add the necessary ambiance and emotional

953
00:52:43,000 --> 00:52:46,320
Speaker 2: support throughout the. Episode, uh and maybe that's part of

954
00:52:46,360 --> 00:52:47,920
Speaker 2: the character of what we have. Here you, know we

955
00:52:47,960 --> 00:52:50,319
Speaker 2: don't have something that feels like The gargoyles theme. Song

956
00:52:51,360 --> 00:52:53,279
Speaker 2: though what if we, did that would be amazing as

957
00:52:53,320 --> 00:52:58,719
Speaker 2: well with the. Lyrics, yeah but. Anyway prince worked also

958
00:52:58,719 --> 00:53:01,840
Speaker 2: worked on THE Tv Richard mathieson anthology Series circle Of,

959
00:53:01,920 --> 00:53:05,680
Speaker 2: fear which is hosted hosted by The Sebastian. Cabot he

960
00:53:05,719 --> 00:53:08,400
Speaker 2: worked mostly IN, tv but also scored a pair of

961
00:53:08,440 --> 00:53:12,040
Speaker 2: noteworthy nineteen seventy six, films the black exploitation horror Film

962
00:53:12,120 --> 00:53:14,960
Speaker 2: JD's revenge And Jeff Lieberman's.

963
00:53:14,960 --> 00:53:20,400
Speaker 3: Squirm, Sorry i'm distracted thinking about what nineteen seventies rocker

964
00:53:20,480 --> 00:53:24,120
Speaker 3: would write the Best gargoyles theme. Song i'm kind of

965
00:53:24,160 --> 00:53:28,480
Speaker 3: thinking in The Steve miller. Zone. Yeah can can you

966
00:53:28,520 --> 00:53:32,000
Speaker 3: imagine that it's a sort of jaded seventies rock?

967
00:53:32,080 --> 00:53:35,759
Speaker 2: Tune? Yeah, yeah, YEAH i could see that. Working Like

968
00:53:35,800 --> 00:53:38,880
Speaker 2: i'm instantly reminded of the nineteen seventy one film Zat

969
00:53:39,000 --> 00:53:41,600
Speaker 2: or The bloodwaters Of DOCTOR z which we've talked, about

970
00:53:41,719 --> 00:53:45,040
Speaker 2: which has that great theme song that is really like

971
00:53:45,120 --> 00:53:47,880
Speaker 2: all about sympathizing with the villain of the picture in

972
00:53:47,960 --> 00:53:53,920
Speaker 2: ways that the picture maybe doesn't completely back. Up SO

973
00:53:54,000 --> 00:53:56,160
Speaker 2: i could see something like that working, here some sort

974
00:53:56,160 --> 00:53:58,640
Speaker 2: of folksy ballad about the plight of the car. Coil

975
00:53:58,800 --> 00:53:59,120
Speaker 2: what's that?

976
00:53:59,160 --> 00:54:01,760
Speaker 3: One that was Like World war three boy or? Something

977
00:54:02,120 --> 00:54:02,759
Speaker 3: World war two?

978
00:54:02,800 --> 00:54:05,520
Speaker 2: Boy that's World war two? Boy oh, yeah and, Yeah

979
00:54:05,520 --> 00:54:09,320
Speaker 2: i'm trying to remember who did that. Offhand jamie, Defrates jamie,

980
00:54:09,320 --> 00:54:11,719
Speaker 2: Defrats that's who it. Was sache through the.

981
00:54:11,760 --> 00:54:13,960
Speaker 3: Sarcasm, okay you ready to talk about the?

982
00:54:14,000 --> 00:54:17,200
Speaker 2: Plot, yeah, yeah let's dive right in with some.

983
00:54:17,360 --> 00:54:20,839
Speaker 3: Woodcuts, yeah so we get a cold open with The

984
00:54:20,880 --> 00:54:26,000
Speaker 3: Outer limits voiceover. Narration it's that metallic electronic sound Of

985
00:54:26,239 --> 00:54:29,320
Speaker 3: vic Paren, right he's the one doing, It, yeah, yeah

986
00:54:29,760 --> 00:54:33,480
Speaker 3: talking at us, forcefully while we see various images of,

987
00:54:33,560 --> 00:54:37,279
Speaker 3: yeah old, woodcuts paintings with demonic. Themes there's definitely some

988
00:54:37,520 --> 00:54:42,080
Speaker 3: bosh in, there and also photos of grotesque statues on cathedral.

989
00:54:42,200 --> 00:54:45,600
Speaker 3: Architecture the very first critter we see is kind of interesting.

990
00:54:45,680 --> 00:54:48,560
Speaker 3: LOOKING i don't know what this is, from but it

991
00:54:48,600 --> 00:54:51,520
Speaker 3: looks like a cross between a lamb's face and The

992
00:54:51,640 --> 00:54:55,359
Speaker 3: Lance henrickson morph of pumpkinhead for Another Stan winston tie.

993
00:54:55,400 --> 00:54:57,520
Speaker 2: In oh it, does doesn't. It, Yeah but.

994
00:54:57,520 --> 00:54:59,640
Speaker 3: ALSO i pulled out a screenshot for you to look at, Here.

995
00:54:59,719 --> 00:55:02,560
Speaker 3: ROB i like the demon with the kind of, lumpy bulbous.

996
00:55:02,600 --> 00:55:06,520
Speaker 3: Face it's kind of a tumor. Face AND i did

997
00:55:06,520 --> 00:55:09,439
Speaker 3: a reverse image search and found, nothing so this could

998
00:55:09,440 --> 00:55:10,879
Speaker 3: be original to the. MOVIE i don't.

999
00:55:10,920 --> 00:55:13,279
Speaker 2: Know, yeah it almost looks like a, Tattoo like it's

1000
00:55:13,320 --> 00:55:16,399
Speaker 2: a picture of somebody's like abs or. SOMETHING i don't.

1001
00:55:16,480 --> 00:55:19,800
Speaker 3: Know, yeah, Anyway i've got to read the opening narration

1002
00:55:20,239 --> 00:55:24,400
Speaker 3: because this will lay the. Groundwork So Vic parrin, says

1003
00:55:24,760 --> 00:55:29,720
Speaker 3: as if speaking through kind of decaying, Circuitry parents, says

1004
00:55:30,280 --> 00:55:33,399
Speaker 3: the devil was once the most favored of the host

1005
00:55:33,480 --> 00:55:36,920
Speaker 3: of angels serving The, lord but pride welled in his.

1006
00:55:37,040 --> 00:55:40,960
Speaker 3: Breast he thought it unseemly for him to serve the

1007
00:55:41,040 --> 00:55:44,040
Speaker 3: devil in his band of, followers who likewise suffered the

1008
00:55:44,080 --> 00:55:47,520
Speaker 3: sin of, pride were defeated in battle by The lord

1009
00:55:47,920 --> 00:55:51,480
Speaker 3: and his, host and were banished to the outermost depths Of,

1010
00:55:51,600 --> 00:55:54,520
Speaker 3: hell never to know the presence of The, lord or

1011
00:55:54,640 --> 00:55:58,719
Speaker 3: look on heaven, again smarting with his, wounds but all

1012
00:55:58,840 --> 00:56:02,120
Speaker 3: the more swollen with the devil cried out from the.

1013
00:56:02,200 --> 00:56:05,440
Speaker 3: Depths it is better to rule in hell than serve in.

1014
00:56:05,520 --> 00:56:09,239
Speaker 2: Heaven all, right so you know thus, far you know

1015
00:56:09,280 --> 00:56:12,399
Speaker 2: there's a very strong paradise lost theme here.

1016
00:56:13,080 --> 00:56:16,319
Speaker 3: Exactly war in, heaven the, demons the rebellious, angels are.

1017
00:56:16,320 --> 00:56:20,080
Speaker 3: Defeated they fall to. Pandemonium and, yeah better to serve in,

1018
00:56:20,160 --> 00:56:22,680
Speaker 3: hell or rule in, hell than serve in. Heaven but

1019
00:56:22,800 --> 00:56:25,960
Speaker 3: it goes, on it says the devil proclaimed what was

1020
00:56:26,040 --> 00:56:29,400
Speaker 3: lost in heaven would be gained on. Earth he, said my,

1021
00:56:29,600 --> 00:56:34,480
Speaker 3: offspring the gargoyles will one day rule The lord's works

1022
00:56:34,800 --> 00:56:38,400
Speaker 3: earth and. Man and so it came to pass that

1023
00:56:38,480 --> 00:56:43,120
Speaker 3: while man ruled on, earth the gargoyles, waited, lurking hidden

1024
00:56:43,160 --> 00:56:47,760
Speaker 3: from the. Light reborn every six hundred years in man's

1025
00:56:47,760 --> 00:56:51,920
Speaker 3: reckoning of, time the gargoyles joined battle against man to

1026
00:56:52,040 --> 00:56:56,160
Speaker 3: gain dominion over the. Earth in each, coming the gargoyles

1027
00:56:56,200 --> 00:56:59,760
Speaker 3: were nearly destroyed by, men who flourished in greater. Numbers

1028
00:57:00,320 --> 00:57:03,239
Speaker 3: now it has been so many hundreds of years that

1029
00:57:03,320 --> 00:57:07,359
Speaker 3: it seems the ancient statues and paintings of gargoyles are

1030
00:57:07,520 --> 00:57:11,880
Speaker 3: just products of man's. Imagination in this, year with man's

1031
00:57:11,920 --> 00:57:15,000
Speaker 3: thoughts turned toward the many ills he has brought upon,

1032
00:57:15,120 --> 00:57:20,880
Speaker 3: himself man has forgotten his most ancient, adversary the. Gargoyles

1033
00:57:21,720 --> 00:57:24,000
Speaker 3: this is funny to me in so many. Ways first of,

1034
00:57:24,040 --> 00:57:28,200
Speaker 3: all no acknowledgment really of the architectural, connection except that

1035
00:57:28,280 --> 00:57:31,920
Speaker 3: it says like it says, now it's been many hundreds of.

1036
00:57:31,960 --> 00:57:35,680
Speaker 3: Years it seems the statues and paintings are just. Imagination

1037
00:57:35,880 --> 00:57:38,320
Speaker 3: SO i guess it's saying every six hundred years of

1038
00:57:38,320 --> 00:57:40,960
Speaker 3: what from nineteen seventy, Two that would mean in thirteen

1039
00:57:41,120 --> 00:57:44,800
Speaker 3: seventy two the gargoyles were, last they emerged and were,

1040
00:57:44,840 --> 00:57:49,720
Speaker 3: defeated people made statues and, paintings and then since thirteen

1041
00:57:49,760 --> 00:57:52,200
Speaker 3: seventy two people were, like, ah that was all just made. Up,

1042
00:57:53,920 --> 00:57:57,760
Speaker 3: also the movie seems to simply believe gargoyle equals. Demon

1043
00:57:58,000 --> 00:57:58,720
Speaker 3: it's just the.

1044
00:57:58,800 --> 00:58:01,479
Speaker 2: Same, so of, course feels like one of the most

1045
00:58:01,480 --> 00:58:05,320
Speaker 2: tacked on intro narration bits That i've ever, heard you,

1046
00:58:05,360 --> 00:58:07,560
Speaker 2: know where someone's, like, yeah we really need something to

1047
00:58:07,600 --> 00:58:09,240
Speaker 2: the beginning to draw folks in and let them know

1048
00:58:09,280 --> 00:58:13,080
Speaker 2: what's to, Come so let's bring In vic paren and

1049
00:58:13,160 --> 00:58:14,960
Speaker 2: have him or read, something write something up for.

1050
00:58:15,000 --> 00:58:18,000
Speaker 3: Me, yeah you've got to kind of reconcile everything also

1051
00:58:18,120 --> 00:58:20,480
Speaker 3: while that's going. On so AGAIN i, said we see

1052
00:58:20,480 --> 00:58:22,360
Speaker 3: a bunch of these paintings and, stuff BUT i wanted

1053
00:58:22,400 --> 00:58:24,400
Speaker 3: to pull out rob one picture that was pretty. Good

1054
00:58:26,000 --> 00:58:29,040
Speaker 3: who's this, like shirtless guy who's laying back while just

1055
00:58:29,120 --> 00:58:32,280
Speaker 3: a stream of unidentified liquid pours into his. Mouth.

1056
00:58:33,080 --> 00:58:36,400
Speaker 2: Nice, NICE i feel like this was partially. Recreated And

1057
00:58:36,520 --> 00:58:40,920
Speaker 2: labyrinth there's a scene where goblins drinking drippings from some

1058
00:58:40,960 --> 00:58:44,720
Speaker 2: sort of a. Barrel but, yeah we see a lot

1059
00:58:44,720 --> 00:58:47,720
Speaker 2: of horrific imagery in the, background some of it like

1060
00:58:48,000 --> 00:58:50,680
Speaker 2: ultimately a little harder than anything we see later. On

1061
00:58:50,840 --> 00:58:54,120
Speaker 2: but it makes sense if you're wanting to get something

1062
00:58:54,200 --> 00:58:55,920
Speaker 2: right there at the top to let folks know that

1063
00:58:55,960 --> 00:58:58,400
Speaker 2: they're in for a demonic horror, picture even if it's

1064
00:58:58,400 --> 00:59:01,520
Speaker 2: going to be mostly boring desert scene at. First this

1065
00:59:01,600 --> 00:59:03,320
Speaker 2: is a pretty cheap way to do, It like have

1066
00:59:03,440 --> 00:59:06,280
Speaker 2: narration that mentions the devil and all, this and then

1067
00:59:06,520 --> 00:59:08,720
Speaker 2: throw in a bunch of clip, art you, know a

1068
00:59:08,720 --> 00:59:12,760
Speaker 2: bunch of you, know old woodcuts and details From bosh

1069
00:59:12,800 --> 00:59:16,320
Speaker 2: paintings that're gonna really drive that home for. Folks.

1070
00:59:16,600 --> 00:59:20,440
Speaker 3: Yeah, so, anyway once the ancient mariner has let go

1071
00:59:20,520 --> 00:59:23,320
Speaker 3: of our arms and stopped yelling at, us we plunk

1072
00:59:23,400 --> 00:59:26,720
Speaker 3: down on an airstrip in The American southwest and we

1073
00:59:26,760 --> 00:59:29,520
Speaker 3: see like there's a single engine prop plane coming to

1074
00:59:29,560 --> 00:59:32,360
Speaker 3: a stop in the, foreground a bigger passenger plane landing

1075
00:59:32,360 --> 00:59:35,520
Speaker 3: in the, background and the title of the movie slams

1076
00:59:35,600 --> 00:59:38,960
Speaker 3: up on the screen in the same green slime font

1077
00:59:39,120 --> 00:59:40,360
Speaker 3: used for The goosebumps.

1078
00:59:40,400 --> 00:59:45,120
Speaker 2: Books this font just screams. Fun i'm not saying that

1079
00:59:45,200 --> 00:59:48,200
Speaker 2: fun will necessarily be had in the opening sequences of this,

1080
00:59:48,240 --> 00:59:50,120
Speaker 2: picture but the font is very.

1081
00:59:50,120 --> 01:00:00,720
Speaker 3: Fun so we come up on a park lot next

1082
01:00:00,720 --> 01:00:03,280
Speaker 3: to the airstrip and Here's Cornell. Wild he parks his,

1083
01:00:03,280 --> 01:00:07,640
Speaker 3: car which is a sort of, pale, drab toothpaste foam

1084
01:00:07,720 --> 01:00:11,840
Speaker 3: green color of station, wagon and he gets. Out he's

1085
01:00:11,840 --> 01:00:15,200
Speaker 3: waiting for. Somebody one THING i briefly wanted to flag

1086
01:00:15,760 --> 01:00:19,120
Speaker 3: just because it interested. ME i noticed while pausing and

1087
01:00:19,160 --> 01:00:23,920
Speaker 3: taking screenshots of this movie that there are different visual

1088
01:00:24,040 --> 01:00:26,640
Speaker 3: artifacts than WHAT i usually see WHEN i pause a.

1089
01:00:26,680 --> 01:00:30,280
Speaker 3: MOVIE i paused it here With Cornell wild in motion

1090
01:00:30,560 --> 01:00:33,640
Speaker 3: running from his, car and he's, blurry which is not,

1091
01:00:33,720 --> 01:00:38,960
Speaker 3: surprising but the way that he's blurry is that he

1092
01:00:39,040 --> 01:00:43,360
Speaker 3: seems to be surrounded by a haze of, horizontal dark

1093
01:00:43,680 --> 01:00:48,120
Speaker 3: spines protruding from the outline of his, body almost taking

1094
01:00:48,160 --> 01:00:51,440
Speaker 3: the form of a sort of data. Pinhead i've got

1095
01:00:51,440 --> 01:00:53,880
Speaker 3: a zoom in here for you to look. AT i

1096
01:00:54,000 --> 01:00:56,320
Speaker 3: don't know exactly what causes, this BUT i have to

1097
01:00:56,400 --> 01:00:59,200
Speaker 3: suspect it has to do with the fact that this

1098
01:00:59,280 --> 01:01:01,760
Speaker 3: movie was made FOR, tv so maybe it was shot

1099
01:01:01,800 --> 01:01:05,240
Speaker 3: on a different kind of, camera maybe A tv video

1100
01:01:05,360 --> 01:01:07,080
Speaker 3: camera of the kind of maybe shot on video to

1101
01:01:07,160 --> 01:01:10,000
Speaker 3: magnetic tape instead of to. Film AND i don't really,

1102
01:01:10,040 --> 01:01:11,560
Speaker 3: know BUT i thought that was. Interesting.

1103
01:01:12,360 --> 01:01:15,400
Speaker 2: Yeah, YEAH i don't THINK i did much pausing on.

1104
01:01:15,440 --> 01:01:18,680
Speaker 2: MINE i wasn't getting any screen caps at, all SO

1105
01:01:18,720 --> 01:01:20,520
Speaker 2: i didn't notice, this but this is a great point.

1106
01:01:21,120 --> 01:01:24,760
Speaker 3: Anyway the character played By Cornell wilde is Again Professor Mercer,

1107
01:01:24,920 --> 01:01:27,760
Speaker 3: bully and the person he is waiting for here at

1108
01:01:27,760 --> 01:01:31,560
Speaker 3: the airstrip is his adult, Daughter Diana bully played By Jennifer,

1109
01:01:31,600 --> 01:01:35,680
Speaker 3: salt and she gets off the. Plane we see her like,

1110
01:01:35,720 --> 01:01:38,320
Speaker 3: disembarking and she is clutching in the crook of her

1111
01:01:38,480 --> 01:01:43,200
Speaker 3: arm a cat sized demon. Statue so she meets up

1112
01:01:43,200 --> 01:01:45,080
Speaker 3: with her father and they hug and have their you,

1113
01:01:45,120 --> 01:01:48,000
Speaker 3: know they're, reunited and he, Says i'm so glad you

1114
01:01:48,080 --> 01:01:53,040
Speaker 3: decided to join me and bring Me. Calamudri and we see.

1115
01:01:53,040 --> 01:01:55,280
Speaker 3: This we never get a really good look at this,

1116
01:01:55,360 --> 01:01:59,360
Speaker 3: statue but it does look tremendous from from the angles

1117
01:01:59,400 --> 01:02:02,120
Speaker 3: we do get And, rob you ended up digging up

1118
01:02:02,160 --> 01:02:04,880
Speaker 3: something about where this demon statue came.

1119
01:02:04,920 --> 01:02:08,080
Speaker 2: From, YEAH i mean part of. IT i didn't remember

1120
01:02:08,080 --> 01:02:10,680
Speaker 2: that i'd seen this, before BUT i. WASN'T i didn't

1121
01:02:10,720 --> 01:02:12,320
Speaker 2: remember all the plot, elements AND i WAS i was

1122
01:02:12,320 --> 01:02:14,280
Speaker 2: looking Up calumudry Because i'm, like all, right this is

1123
01:02:14,280 --> 01:02:16,560
Speaker 2: going to factor into the plot, Maybe AND i was

1124
01:02:16,600 --> 01:02:21,320
Speaker 2: curious if this name had any actual connection to demons

1125
01:02:21,360 --> 01:02:25,520
Speaker 2: in any culture, mythology AND i don't think it. Does

1126
01:02:26,000 --> 01:02:28,440
Speaker 2: BUT i ended up running across the details of the

1127
01:02:28,480 --> 01:02:31,520
Speaker 2: sculpture that we see. Here as it turns, out the

1128
01:02:31,520 --> 01:02:34,400
Speaker 2: sculpture of the demon in question was made By california

1129
01:02:34,440 --> 01:02:37,880
Speaker 2: based Artist Jim. Rump that's R U. M P h

1130
01:02:38,280 --> 01:02:41,720
Speaker 2: who lived nineteen forty two through nineteen ninety three and

1131
01:02:42,360 --> 01:02:44,360
Speaker 2: as far AS i can tell he was a mad

1132
01:02:44,400 --> 01:02:47,200
Speaker 2: potter in the grand tradition of mad potters for.

1133
01:02:47,280 --> 01:02:51,000
Speaker 3: Sure, yeah there's a there's like a website about his

1134
01:02:51,120 --> 01:02:53,760
Speaker 3: career THAT i didn't get all that deep, into but

1135
01:02:53,800 --> 01:02:56,240
Speaker 3: it just it exudes weird.

1136
01:02:56,400 --> 01:03:00,920
Speaker 2: Wildness that's, right the rump dot. Com so that's thhg

1137
01:03:01,240 --> 01:03:04,240
Speaker 2: R u m P h dot. COM i highly recommend

1138
01:03:04,320 --> 01:03:05,760
Speaker 2: checking it. Out you can see a lot of his work.

1139
01:03:05,800 --> 01:03:08,560
Speaker 2: There so he was highly active in the late sixties

1140
01:03:08,640 --> 01:03:11,320
Speaker 2: and the seventies and the, eighties and he worked out

1141
01:03:11,320 --> 01:03:15,360
Speaker 2: of his own Slime factory studio In Santa. Monica that's

1142
01:03:15,560 --> 01:03:18,720
Speaker 2: s L y by the. Way AND i even found

1143
01:03:18,800 --> 01:03:22,320
Speaker 2: a business card printed on cardboard for The Slime factory

1144
01:03:22,360 --> 01:03:24,520
Speaker 2: there for, You. Joe it has the original address AND

1145
01:03:24,560 --> 01:03:27,800
Speaker 2: i think phone number of the studio AND i looked

1146
01:03:27,800 --> 01:03:29,480
Speaker 2: it up to see what's there, today and it's you,

1147
01:03:29,520 --> 01:03:32,320
Speaker 2: know it's like a modern house or condo or. Something

1148
01:03:32,360 --> 01:03:34,960
Speaker 2: but back in the, day this is where the Slime factory,

1149
01:03:35,120 --> 01:03:38,120
Speaker 2: was and it's where it, apparently from WHAT i could

1150
01:03:38,120 --> 01:03:41,600
Speaker 2: gather on the, website various counterculture bohemian artists seem to

1151
01:03:41,600 --> 01:03:45,240
Speaker 2: gather for what was called The Mind. Circus according to

1152
01:03:45,280 --> 01:03:48,000
Speaker 2: the rump Dot, com this is Where jim created all

1153
01:03:48,080 --> 01:03:52,320
Speaker 2: manner of, sculptures from like demon helms and wizard bongs

1154
01:03:52,680 --> 01:03:57,920
Speaker 2: to officially Licensed Star wars. Tankards so you, know we're

1155
01:03:57,920 --> 01:04:01,840
Speaker 2: talking like Handcrafted Star wars mugs straight from the. Kiln

1156
01:04:02,880 --> 01:04:07,240
Speaker 2: and apparently the situation here is Like lucas knew of his.

1157
01:04:07,400 --> 01:04:12,040
Speaker 2: Work George lucas like officially allowed him to produce these

1158
01:04:12,040 --> 01:04:16,240
Speaker 2: as Licensed Star wars memorabilia in the late nineteen seventies

1159
01:04:16,320 --> 01:04:16,640
Speaker 2: or early.

1160
01:04:16,680 --> 01:04:20,480
Speaker 3: EIGHTIES i could be wrong about, this but from my,

1161
01:04:20,600 --> 01:04:25,400
Speaker 3: understanding that is a rare, honor like not Have lucas say, like, uh,

1162
01:04:25,440 --> 01:04:26,160
Speaker 3: oh you can't do.

1163
01:04:26,280 --> 01:04:32,240
Speaker 2: That, yeah But i've seen some pictures of and some of.

1164
01:04:32,280 --> 01:04:34,640
Speaker 2: Them a lot of his work is readily available On,

1165
01:04:34,720 --> 01:04:36,840
Speaker 2: eBay like he can pick up A rump mug or

1166
01:04:36,880 --> 01:04:39,520
Speaker 2: What i'm believed to be an Official rump mug for

1167
01:04:39,600 --> 01:04:41,360
Speaker 2: like twenty. Bucks but if you want to get A

1168
01:04:41,360 --> 01:04:43,840
Speaker 2: Star wars one like An obi Wan, kenobi you're looking

1169
01:04:43,880 --> 01:04:47,880
Speaker 2: at two hundred bucks. Thereabouts look, around explore the world

1170
01:04:47,880 --> 01:04:49,720
Speaker 2: for yourself if you want to invest in some, art

1171
01:04:49,800 --> 01:04:52,919
Speaker 2: but they're at the slime. Factory according to The rump

1172
01:04:52,960 --> 01:04:55,600
Speaker 2: dot Com they also made casts of everyone's navels so

1173
01:04:55,600 --> 01:04:58,960
Speaker 2: they could display them on the. Wall and, yeah it

1174
01:04:59,000 --> 01:05:01,720
Speaker 2: sounds like he was a real wild. Character and, Yeah

1175
01:05:01,720 --> 01:05:03,600
Speaker 2: i've just found it really interesting that this one little

1176
01:05:03,640 --> 01:05:07,120
Speaker 2: sculpture that doesn't factor into the plot much at all at. All,

1177
01:05:07,600 --> 01:05:11,880
Speaker 2: yeah has this connection to this underground artist who seems

1178
01:05:11,920 --> 01:05:14,760
Speaker 2: to have enjoyed us a kind of a resurgence in recent.

1179
01:05:14,840 --> 01:05:17,240
Speaker 2: Years according to that, website like a lot of people

1180
01:05:17,280 --> 01:05:20,560
Speaker 2: have kind of forgotten About Jim rump and a lot

1181
01:05:20,600 --> 01:05:23,400
Speaker 2: of it's you, know coalescing once. More but that website

1182
01:05:23,480 --> 01:05:26,640
Speaker 2: includes listings for not only the sculpture we see, here

1183
01:05:26,920 --> 01:05:30,280
Speaker 2: but also like a painting or drawling THAT i guess

1184
01:05:30,320 --> 01:05:31,840
Speaker 2: was kind of like the concept art for the.

1185
01:05:31,880 --> 01:05:36,200
Speaker 3: Piece well Maybe Jennifer salt's character is supposed to be

1186
01:05:36,320 --> 01:05:36,800
Speaker 3: a friend Of.

1187
01:05:36,880 --> 01:05:40,080
Speaker 2: Rump's maybe, SO i, mean she seems like a free spirited.

1188
01:05:40,120 --> 01:05:42,280
Speaker 2: GAL i don't know where she's flying in. From he's

1189
01:05:42,320 --> 01:05:43,240
Speaker 2: got some hippie.

1190
01:05:43,000 --> 01:05:47,960
Speaker 3: Energy, yeah. Yea so she gives it to her, Dad Mercer,

1191
01:05:47,960 --> 01:05:50,000
Speaker 3: bolli and he's, like oh Boyd he like puts it

1192
01:05:50,040 --> 01:05:52,240
Speaker 3: in a box and he, Says calimudri will just about

1193
01:05:52,320 --> 01:05:57,680
Speaker 3: complete my collection of. Demons so through dialogue we learn

1194
01:05:57,720 --> 01:06:01,920
Speaker 3: a bit about their family. Situation mercer And diana's mother

1195
01:06:02,120 --> 01:06:06,160
Speaker 3: are now divorced and the mother has, remarried and it's

1196
01:06:06,240 --> 01:06:08,640
Speaker 3: discussed That diana and her mother don't see each other.

1197
01:06:08,720 --> 01:06:11,120
Speaker 3: Much diana seems to be maybe in her like late

1198
01:06:11,160 --> 01:06:14,200
Speaker 3: twenties or maybe about. Thirty and we are going to

1199
01:06:14,280 --> 01:06:19,640
Speaker 3: learn That mercer is a professor who, researches it seems

1200
01:06:19,640 --> 01:06:24,760
Speaker 3: both archaeology and, anthropology AND i guess also like folklore under,

1201
01:06:24,760 --> 01:06:28,200
Speaker 3: anthropology and he writes books for a. Living and this

1202
01:06:28,320 --> 01:06:30,360
Speaker 3: involves a lot of. Travel so it used to be

1203
01:06:30,440 --> 01:06:32,920
Speaker 3: normal For diana and her mother to accompany him on

1204
01:06:32,960 --> 01:06:35,920
Speaker 3: these research, trips but that hasn't happened in a, while

1205
01:06:36,800 --> 01:06:39,480
Speaker 3: and Now diana is excited to join her dad for

1206
01:06:39,520 --> 01:06:44,160
Speaker 3: a new. Project it's not spelled out, explicitly, well it nearly.

1207
01:06:44,280 --> 01:06:47,440
Speaker 3: IS i think she is a photographer who takes pictures

1208
01:06:47,440 --> 01:06:50,120
Speaker 3: that will be used in his. Books did you understand

1209
01:06:50,160 --> 01:06:50,360
Speaker 3: it that?

1210
01:06:50,400 --> 01:06:53,520
Speaker 2: Way? Right? Right, yeah he's put working on the next,

1211
01:06:53,520 --> 01:06:58,040
Speaker 2: book like That's ali makes The bacon and he needs

1212
01:06:58,040 --> 01:07:02,800
Speaker 2: some photographs of something going out into the field to

1213
01:07:02,880 --> 01:07:04,240
Speaker 2: get some content for the next.

1214
01:07:04,280 --> 01:07:07,360
Speaker 3: Book so they're about to talk more about, that but

1215
01:07:07,640 --> 01:07:11,000
Speaker 3: before we get, THERE i have to MENTION i typically

1216
01:07:11,040 --> 01:07:13,720
Speaker 3: am going to avoid making fun of the appearance of child,

1217
01:07:13,840 --> 01:07:17,080
Speaker 3: actors BUT i have to point out there's this kid

1218
01:07:17,080 --> 01:07:19,520
Speaker 3: in the. Background like the way the light is falling

1219
01:07:19,600 --> 01:07:23,520
Speaker 3: on this blonde child with dark. Eyes he looks like

1220
01:07:23,640 --> 01:07:26,080
Speaker 3: he's like sorting through the baggage card at the, airport

1221
01:07:26,120 --> 01:07:28,880
Speaker 3: and he looks like the spawn Of Rutger hower And Emperor.

1222
01:07:28,880 --> 01:07:33,600
Speaker 3: PALPATINE i was confused by this kid because at, first

1223
01:07:33,640 --> 01:07:35,840
Speaker 3: like AS i was beginning to sort of ease into.

1224
01:07:35,640 --> 01:07:38,000
Speaker 2: The, PICTURE i thought this kid was with, them and

1225
01:07:38,040 --> 01:07:40,520
Speaker 2: THEN i even thought he was in the station wagon with. Them,

1226
01:07:40,560 --> 01:07:42,640
Speaker 2: later because it looks like there's something moving in the

1227
01:07:42,680 --> 01:07:45,240
Speaker 2: back of the station, WAGON i was, like, oh as a, Person,

1228
01:07:45,720 --> 01:07:47,280
Speaker 2: yeah So i'm, LIKE i guess this is the younger.

1229
01:07:47,320 --> 01:07:49,480
Speaker 2: Brother but then THEN i realized, later, like, no this

1230
01:07:49,560 --> 01:07:52,160
Speaker 2: kid has no connection to these, characters so he's just.

1231
01:07:52,160 --> 01:07:53,000
Speaker 2: Gone we never see him.

1232
01:07:53,000 --> 01:07:56,480
Speaker 3: Again, yeah bye. Bye, Anyway mercer And diana they get

1233
01:07:56,520 --> 01:07:58,800
Speaker 3: in the station, wagon they drive off into the desert

1234
01:07:58,840 --> 01:08:02,040
Speaker 3: and then chat awkward About mercer's career for the benefit

1235
01:08:02,120 --> 01:08:04,880
Speaker 3: of the. Audience ROB i think you were calling attention

1236
01:08:04,960 --> 01:08:07,160
Speaker 3: to some of these dialogue scenes in the car at

1237
01:08:07,200 --> 01:08:10,080
Speaker 3: the beginning as being especially. Funny.

1238
01:08:10,840 --> 01:08:12,920
Speaker 2: Yeah, yeah we have some sequences where it's just the

1239
01:08:12,960 --> 01:08:18,640
Speaker 2: station wagon driving, along no interior shots and his dialogue. Voiceover,

1240
01:08:18,760 --> 01:08:22,280
Speaker 2: yeah we eventually do enter the vehicle with them for.

1241
01:08:22,400 --> 01:08:27,320
Speaker 2: Conversations and, YEAH i enjoy all of the scenes with

1242
01:08:27,320 --> 01:08:30,479
Speaker 2: the station, wagon including some later on that are very

1243
01:08:30,760 --> 01:08:34,080
Speaker 2: GARTH marangi dark. Place oh, like it's clearly like filmed,

1244
01:08:34,320 --> 01:08:37,000
Speaker 2: inside with people shaking the car on both, sides with.

1245
01:08:37,000 --> 01:08:42,240
Speaker 3: The gargoyles clinging to the roof that's obviously secured there

1246
01:08:42,280 --> 01:08:46,080
Speaker 3: by some. Anyway so we learn from their dialogue That

1247
01:08:46,160 --> 01:08:50,360
Speaker 3: Mercer bowley, is AS i, said archaeologist and, anthropologist but

1248
01:08:51,000 --> 01:08:55,600
Speaker 3: his work focuses especially on demons and, monsters and he

1249
01:08:55,720 --> 01:08:58,799
Speaker 3: is not just your average. Academic he is a media

1250
01:08:58,920 --> 01:09:02,719
Speaker 3: superstar who writes best selling books and he gets booked

1251
01:09:02,760 --> 01:09:08,600
Speaker 3: ON tv talk. Shows apparently his gig is telling people that, demons,

1252
01:09:08,800 --> 01:09:12,920
Speaker 3: devils and witchcraft are not, real they are only. Superstition

1253
01:09:13,680 --> 01:09:15,920
Speaker 3: so they're they're setting him up as a kind Of

1254
01:09:16,040 --> 01:09:20,760
Speaker 3: James randy Of satanic. Monsterdom you may think demons and

1255
01:09:20,800 --> 01:09:22,719
Speaker 3: devils and monsters are, real but they're.

1256
01:09:22,760 --> 01:09:26,000
Speaker 2: Not. Yeah you can imagine him even being On carson

1257
01:09:26,080 --> 01:09:27,840
Speaker 2: back in the, day like you, know like A Late

1258
01:09:28,560 --> 01:09:32,120
Speaker 2: Tonight show guest that pops up and has some fun

1259
01:09:32,160 --> 01:09:34,519
Speaker 2: With johnny talking about some demon like maybe he even

1260
01:09:34,520 --> 01:09:35,000
Speaker 2: brings in this.

1261
01:09:35,040 --> 01:09:39,800
Speaker 3: Sculpture but Then diana is, like she, Goes, dad do

1262
01:09:39,840 --> 01:09:42,599
Speaker 3: you really believe the world of evil is nothing more

1263
01:09:42,640 --> 01:09:46,800
Speaker 3: than a? Fantasy and he, replies who knows it sells my?

1264
01:09:46,880 --> 01:09:53,080
Speaker 3: Books what a bizarre aura of anti viisimilitude the writers

1265
01:09:53,120 --> 01:09:56,400
Speaker 3: have conjured here with this. Character so a few. Things

1266
01:09:56,439 --> 01:09:59,720
Speaker 3: first of, all the idea of like he's a professor

1267
01:09:59,760 --> 01:10:04,040
Speaker 3: who specializes in demons and monsters and who rakes in

1268
01:10:04,160 --> 01:10:08,240
Speaker 3: the cash by publishing books claiming the demons and monsters

1269
01:10:08,320 --> 01:10:11,040
Speaker 3: are not. Real let me tell you that is absolutely

1270
01:10:11,040 --> 01:10:11,719
Speaker 3: where the money.

1271
01:10:11,800 --> 01:10:16,920
Speaker 2: IS i, Mean i've bought plenty of books about demons

1272
01:10:16,920 --> 01:10:19,599
Speaker 2: and monsters and those authors are not claiming they're.

1273
01:10:19,640 --> 01:10:22,400
Speaker 3: Real, well but it's not just that he's not claiming they're.

1274
01:10:22,400 --> 01:10:25,360
Speaker 3: Real he's writing books to be like that demon not?

1275
01:10:25,400 --> 01:10:28,640
Speaker 2: Real yeah, Real, yeah He's it's not just about this

1276
01:10:28,680 --> 01:10:30,720
Speaker 2: is an important folk. Belief you get more of the

1277
01:10:30,760 --> 01:10:33,160
Speaker 2: sense that he's, like demons are. Nonsense, now let me

1278
01:10:33,160 --> 01:10:33,559
Speaker 2: show you some.

1279
01:10:33,560 --> 01:10:36,639
Speaker 3: Pictures, yeah and they like set him up on THESE

1280
01:10:36,760 --> 01:10:39,599
Speaker 3: tv talk shows to like argue with witches and. Stuff

1281
01:10:40,960 --> 01:10:44,800
Speaker 3: so that's his public, persona but we find out in

1282
01:10:44,880 --> 01:10:48,519
Speaker 3: private he doesn't actually have a position on whether demons

1283
01:10:48,560 --> 01:10:51,800
Speaker 3: are real or. Not it's just a character he insincerely

1284
01:10:51,880 --> 01:10:55,040
Speaker 3: adopts because that's how he makes, money that's what the public.

1285
01:10:55,120 --> 01:11:00,519
Speaker 3: Wants Bizarre, anyway he is currently working on a book

1286
01:11:00,640 --> 01:11:04,439
Speaker 3: called five Thousand years Of, demonology and the goal of

1287
01:11:04,479 --> 01:11:07,400
Speaker 3: this book will be to quote Trace man's conception of

1288
01:11:07,479 --> 01:11:10,080
Speaker 3: evil from three THOUSAND bc to the.

1289
01:11:10,120 --> 01:11:12,360
Speaker 2: Present, yeah and he said it's going to be a

1290
01:11:12,360 --> 01:11:15,400
Speaker 2: big seller Come christmas, season like this is the one

1291
01:11:15,600 --> 01:11:19,040
Speaker 2: everyone's gonna want on their uh there there on their

1292
01:11:19,040 --> 01:11:21,800
Speaker 2: living room, table like big coffee table vibes.

1293
01:11:21,840 --> 01:11:24,519
Speaker 3: Here, yeah and of Course diana's photos are going to

1294
01:11:24,560 --> 01:11:27,080
Speaker 3: be in the book as. Well but SO i guess

1295
01:11:27,160 --> 01:11:29,120
Speaker 3: this is like the first leg of the trip to

1296
01:11:29,160 --> 01:11:32,800
Speaker 3: research this. Book they're currently en route to meet a

1297
01:11:32,920 --> 01:11:36,439
Speaker 3: gin guzzling desert crank the professor has been corresponding with

1298
01:11:36,800 --> 01:11:40,559
Speaker 3: who claims to have knowledge of devil monster uh and

1299
01:11:40,640 --> 01:11:42,559
Speaker 3: so they're going to be driving for a while to get,

1300
01:11:42,560 --> 01:11:45,439
Speaker 3: there and boy strap yourself in for these driving. Scenes

1301
01:11:45,479 --> 01:11:47,519
Speaker 3: there's even a scene where they take a wrong turn

1302
01:11:47,600 --> 01:11:48,639
Speaker 3: and have to go back five.

1303
01:11:48,720 --> 01:11:52,080
Speaker 2: Miles, yeah, yeah you. Can this is this is where

1304
01:11:52,120 --> 01:11:54,200
Speaker 2: you begin to understand why we have that that tact

1305
01:11:54,240 --> 01:11:57,040
Speaker 2: on narration and the sequence of demonic.

1306
01:11:57,040 --> 01:12:00,000
Speaker 3: Imagery BUT i will, say, ACTUALLY i guess the Wrong

1307
01:12:00,120 --> 01:12:02,960
Speaker 3: turren scene is the first time we see a, gargoyle

1308
01:12:03,240 --> 01:12:06,639
Speaker 3: not actually, see but indirectly, see because as the car

1309
01:12:06,680 --> 01:12:09,120
Speaker 3: comes to a, stop we see it framed from far.

1310
01:12:09,160 --> 01:12:12,160
Speaker 3: Away we're like up on a rocky hill, nearby and

1311
01:12:12,320 --> 01:12:16,240
Speaker 3: suddenly there is a winged humanoid shadow that falls over the,

1312
01:12:16,320 --> 01:12:22,360
Speaker 3: rocks and this, unsettling fluttering electronic music kicks, in and

1313
01:12:22,560 --> 01:12:24,120
Speaker 3: you know it's conjuring some decent.

1314
01:12:24,160 --> 01:12:27,760
Speaker 2: Atmosphere yeah, YEAH i mean it's often pointed out, that you,

1315
01:12:27,800 --> 01:12:32,400
Speaker 2: know nighttime is certainly a great place for supernatural threats to,

1316
01:12:32,439 --> 01:12:35,320
Speaker 2: reside but sometimes if you do it, right the daytime

1317
01:12:35,360 --> 01:12:38,439
Speaker 2: can be equally. Terrifying AND i mean here we do

1318
01:12:38,520 --> 01:12:42,960
Speaker 2: have a desolate desert. Environment there is kind of a

1319
01:12:42,960 --> 01:12:45,360
Speaker 2: weird sense that, like how could they not see something so?

1320
01:12:45,479 --> 01:12:48,360
Speaker 2: Big but THEN i don't know you're thinking, about like direct,

1321
01:12:48,400 --> 01:12:51,080
Speaker 2: sun it is possible for things to sort of hide

1322
01:12:51,160 --> 01:12:56,280
Speaker 2: in the, Sun So i'm willing to grant the believability

1323
01:12:56,280 --> 01:12:56,479
Speaker 2: to this.

1324
01:12:56,560 --> 01:12:59,920
Speaker 3: SCENE i think daytime in the desert can be a scary.

1325
01:13:00,080 --> 01:13:03,519
Speaker 3: Environment there's kind of, stillness stillness to desert air that

1326
01:13:03,600 --> 01:13:04,120
Speaker 3: can be a little.

1327
01:13:04,200 --> 01:13:07,120
Speaker 2: Creepy. Yeah, yeah and, again like the sun can be

1328
01:13:07,520 --> 01:13:10,800
Speaker 2: be bright, thing and there are plenty of natural creatures

1329
01:13:10,800 --> 01:13:14,280
Speaker 2: that can hide quite well in the open desert so

1330
01:13:14,320 --> 01:13:16,799
Speaker 2: that humans can't see, Them and we can easily imagine

1331
01:13:16,840 --> 01:13:20,760
Speaker 2: that a gargoyle could do the. SAME i like these, Gargoyles.

1332
01:13:20,360 --> 01:13:23,880
Speaker 3: YES i like out on the way to the meeting.

1333
01:13:23,920 --> 01:13:27,519
Speaker 3: Place next they start seeing these these signs beside the,

1334
01:13:27,600 --> 01:13:30,439
Speaker 3: road like they're about to meet The. Riddler they're just

1335
01:13:30,479 --> 01:13:32,040
Speaker 3: these Big riddler question.

1336
01:13:31,840 --> 01:13:35,120
Speaker 2: Marks big like weird unofficial, Signs like there's no sense

1337
01:13:35,120 --> 01:13:37,960
Speaker 2: that these are official like highway, signs like some old

1338
01:13:38,040 --> 01:13:40,960
Speaker 2: kook has been setting these up to try and get

1339
01:13:41,000 --> 01:13:42,639
Speaker 2: the tourist.

1340
01:13:42,680 --> 01:13:46,120
Speaker 3: Traffic, yeah they promise a two headed mystery, lizard a

1341
01:13:46,160 --> 01:13:51,200
Speaker 3: snake in and a monster that flies fl ys as

1342
01:13:51,200 --> 01:13:54,320
Speaker 3: well as cold. Beer and so when we get to the.

1343
01:13:54,360 --> 01:13:58,320
Speaker 3: Destination it is Called Uncle Willie's Desert. Museum, yes the

1344
01:13:58,320 --> 01:14:01,679
Speaker 3: pick of fence is falling. Over, yes there's a donkey out. Front,

1345
01:14:02,080 --> 01:14:03,639
Speaker 3: yes the roof is littered with cow.

1346
01:14:03,680 --> 01:14:06,120
Speaker 2: Skulls it looks, great it.

1347
01:14:06,160 --> 01:14:09,080
Speaker 3: Does, yeah and inside it looks like The sawyer family lives.

1348
01:14:09,120 --> 01:14:11,759
Speaker 3: Here It's tcum. Mansion.

1349
01:14:12,400 --> 01:14:15,600
Speaker 2: Yeah, yeah and Again Uncle woody is. Great this is

1350
01:14:15,640 --> 01:14:19,040
Speaker 2: a great character performance. Here end up wanting more than we.

1351
01:14:19,120 --> 01:14:21,599
Speaker 3: Get, Right so he's, like already, sweaty AND i think

1352
01:14:21,800 --> 01:14:24,320
Speaker 3: probably been drinking when he first meets. Them he comes

1353
01:14:24,360 --> 01:14:26,040
Speaker 3: out and he's, like why DON'T i just get you some?

1354
01:14:26,120 --> 01:14:29,559
Speaker 2: Beers how cold do these beers end up?

1355
01:14:29,560 --> 01:14:31,479
Speaker 3: Looking by the, WAY i don't know about, that.

1356
01:14:41,200 --> 01:14:44,679
Speaker 2: All, Right so the cold, beer presumably cold, beer has been. Served.

1357
01:14:44,960 --> 01:14:48,479
Speaker 3: Yeah so the short version On willie is that he

1358
01:14:48,520 --> 01:14:52,799
Speaker 3: wrote to Doctor bowley saying he has records of Local

1359
01:14:52,960 --> 01:14:56,880
Speaker 3: Native american exorcism rights and he also has some artifacts to.

1360
01:14:56,960 --> 01:15:01,200
Speaker 3: Share But willie tries to kind of flip the. Script he's, like,

1361
01:15:01,280 --> 01:15:03,840
Speaker 3: HEY i saw you ON tv with all your fancy book.

1362
01:15:03,920 --> 01:15:07,880
Speaker 3: LEARNING i am in possession of a gargoyle skeleton AND

1363
01:15:07,960 --> 01:15:09,920
Speaker 3: i want you to co author a book with. Me

1364
01:15:10,080 --> 01:15:13,439
Speaker 3: with my picture on the, cover BECAUSE i, MEAN i

1365
01:15:13,479 --> 01:15:15,800
Speaker 3: agree that would sell. BOOKS i would buy any book

1366
01:15:15,840 --> 01:15:17,720
Speaker 3: that had a picture Of Uncle willy on the.

1367
01:15:17,800 --> 01:15:22,320
Speaker 2: Cover and at, first the professor is just, like see you.

1368
01:15:22,400 --> 01:15:26,320
Speaker 2: Later we're gone. Walking we're just walking now and walking

1369
01:15:26,400 --> 01:15:29,240
Speaker 2: out of this. Store AND i guess maybe in the long,

1370
01:15:29,320 --> 01:15:32,800
Speaker 2: run like this was a negotiating, tactic but when it

1371
01:15:32,840 --> 01:15:34,640
Speaker 2: occurs in the, film it just makes him seem like

1372
01:15:34,720 --> 01:15:37,080
Speaker 2: a huge, jerk, like, dude you just flew in, here

1373
01:15:37,960 --> 01:15:41,640
Speaker 2: drove however long through the desert to Meet, willie and

1374
01:15:41,680 --> 01:15:44,040
Speaker 2: you're just gonna immediately walk out on him without hearing

1375
01:15:44,080 --> 01:15:44,719
Speaker 2: him out a little.

1376
01:15:44,760 --> 01:15:48,759
Speaker 3: Bit, yeah, yeah But willy's also driving a hard. Bargain.

1377
01:15:48,920 --> 01:15:52,599
Speaker 3: Yeah So willy takes them out to his gargoyle shack

1378
01:15:52,760 --> 01:15:56,200
Speaker 3: where he keeps the. Skeleton it's like a human skeleton

1379
01:15:56,320 --> 01:15:58,880
Speaker 3: in the body sort. Of, ACTUALLY i guess it's not so.

1380
01:15:58,960 --> 01:16:02,519
Speaker 3: Much it's by pal you, know it's, upright but it's got,

1381
01:16:02,520 --> 01:16:05,439
Speaker 3: wings it's got claws instead of, toes and then the

1382
01:16:05,520 --> 01:16:07,759
Speaker 3: head has horns and a giant.

1383
01:16:07,800 --> 01:16:11,519
Speaker 2: Beak. YEAH i think someone who has a better head

1384
01:16:11,520 --> 01:16:14,360
Speaker 2: for anatomy might look at this skeleton and have some

1385
01:16:14,400 --> 01:16:16,960
Speaker 2: serious questions about how it all comes together.

1386
01:16:17,000 --> 01:16:19,479
Speaker 3: Here, yeah and of Course bully doesn't believe it at.

1387
01:16:19,479 --> 01:16:24,080
Speaker 3: First he's, like this is a concoction of unrelated. Bones he,

1388
01:16:24,120 --> 01:16:27,400
Speaker 3: says he admires the, artistry but he rejects the reality of.

1389
01:16:27,439 --> 01:16:30,920
Speaker 3: It But willie is. Adamant so he's got a bunch

1390
01:16:30,960 --> 01:16:34,120
Speaker 3: of stories of how the local tribes had to hold

1391
01:16:34,160 --> 01:16:37,640
Speaker 3: off these monsters with sacrifices and rituals for hundreds of.

1392
01:16:37,720 --> 01:16:40,639
Speaker 3: Years and then there's a little moment Where diana starts

1393
01:16:40,640 --> 01:16:43,519
Speaker 3: taking pictures While willie's back is, turned and he gets

1394
01:16:43,600 --> 01:16:46,120
Speaker 3: very upset about. This no pictures without a.

1395
01:16:46,160 --> 01:16:49,120
Speaker 2: Deal, yeah and he's really good in the. Scene he's totally.

1396
01:16:49,200 --> 01:16:52,000
Speaker 2: Raving but, NOW i will say that this mention of

1397
01:16:52,080 --> 01:16:56,760
Speaker 2: the native practices that were so effective at containing and

1398
01:16:56,800 --> 01:17:00,120
Speaker 2: holding off the, gargoyles this sounds really, Intriguing and you

1399
01:17:00,200 --> 01:17:01,920
Speaker 2: might be tempted to think this is going to come

1400
01:17:01,920 --> 01:17:04,360
Speaker 2: into play now that they've rolled this cannon out on,

1401
01:17:04,400 --> 01:17:06,559
Speaker 2: deck but, no, no it's not gonna come up.

1402
01:17:06,560 --> 01:17:09,160
Speaker 3: Again, Well willy gets drunk and he starts trying to

1403
01:17:09,240 --> 01:17:11,760
Speaker 3: like tell some of these tales as told to, him

1404
01:17:11,800 --> 01:17:13,680
Speaker 3: but it sounds like he's just making it up as

1405
01:17:13,720 --> 01:17:14,040
Speaker 3: he goes.

1406
01:17:14,080 --> 01:17:17,200
Speaker 2: Along, mmm, NO i don't, know are just having a

1407
01:17:17,200 --> 01:17:19,679
Speaker 2: hard time remembering. It it would have been an interesting twist

1408
01:17:19,800 --> 01:17:23,519
Speaker 2: if like these were really the native lore was really

1409
01:17:23,600 --> 01:17:27,400
Speaker 2: key to defeating the. Gargoyles and you, know all these

1410
01:17:28,760 --> 01:17:31,879
Speaker 2: our contemporary characters here are unable to defeat the gargoyles

1411
01:17:31,880 --> 01:17:33,920
Speaker 2: in the end because they no longer have access to that.

1412
01:17:34,000 --> 01:17:36,720
Speaker 3: Information, no it turns out what's crucial to defeating the

1413
01:17:36,760 --> 01:17:40,200
Speaker 3: gargoyles are, guns, gasoline and bashing with.

1414
01:17:40,360 --> 01:17:41,080
Speaker 2: Rocks that's.

1415
01:17:41,160 --> 01:17:44,560
Speaker 3: Right so in the middle of all, this the gargoyle

1416
01:17:44,600 --> 01:17:48,080
Speaker 3: shack is suddenly it comes under. Attack. Outside there is

1417
01:17:48,120 --> 01:17:51,160
Speaker 3: a fluttering of leathery, wings the walls start, shaking and

1418
01:17:51,200 --> 01:17:55,120
Speaker 3: something is shredding through the door with huge catlike. Claws

1419
01:17:55,640 --> 01:17:57,479
Speaker 3: and in the middle of all, this a big roof

1420
01:17:57,520 --> 01:18:00,920
Speaker 3: beam falls down and Hits. Willy everything catches on. Fire

1421
01:18:01,720 --> 01:18:04,200
Speaker 3: mercer And diana run, Away they like run out to

1422
01:18:04,200 --> 01:18:07,599
Speaker 3: their car to, escape And diana's, like, oh, look Uncle,

1423
01:18:07,640 --> 01:18:10,120
Speaker 3: willy And mercer's just, like leave. Him he's.

1424
01:18:10,200 --> 01:18:13,960
Speaker 2: Dead, yeah very quick to write him. Up and then

1425
01:18:14,320 --> 01:18:15,840
Speaker 2: he gets hit in the head and then he's caught on.

1426
01:18:15,880 --> 01:18:18,120
Speaker 2: Fire BUT i don't, know it seemed like there was a.

1427
01:18:18,160 --> 01:18:23,640
Speaker 3: Possibility, yeah they didn't really investigate too. Close they just you,

1428
01:18:23,680 --> 01:18:26,240
Speaker 3: know get to leave. Him he's dead very. Easily but

1429
01:18:26,280 --> 01:18:30,320
Speaker 3: they do stop to grab the gargoyle. Skull so there's

1430
01:18:30,360 --> 01:18:33,479
Speaker 3: an escape sequence in the station wagon that involves several

1431
01:18:33,520 --> 01:18:36,599
Speaker 3: more gargoyle attacks in the. Dark there's like one clinging

1432
01:18:36,640 --> 01:18:39,280
Speaker 3: to the, roof WHICH i believe they dislodge by way

1433
01:18:39,320 --> 01:18:42,479
Speaker 3: of a three point. Turn and then also you, know

1434
01:18:42,560 --> 01:18:45,559
Speaker 3: they're attacking the. Window the car gets really banged. Up and,

1435
01:18:45,760 --> 01:18:49,280
Speaker 3: meanwhile while they're driving, away they're listening to the playback

1436
01:18:49,439 --> 01:18:53,160
Speaker 3: of the audio tape they were making Of willy when

1437
01:18:53,240 --> 01:18:53,800
Speaker 3: the shack was.

1438
01:18:53,840 --> 01:18:56,439
Speaker 2: Attacked, yeah on all this section, here this is where

1439
01:18:56,439 --> 01:18:59,400
Speaker 2: we get some of those Great GARTH marangi dark place

1440
01:18:59,520 --> 01:19:02,799
Speaker 2: ask shake the car in a dark, room. Yes.

1441
01:19:03,200 --> 01:19:07,639
Speaker 3: Effects so after they finned off the gargoyle, attacks it's

1442
01:19:07,640 --> 01:19:10,599
Speaker 3: time to go to the gargoyle. Motel they like drop

1443
01:19:10,640 --> 01:19:13,000
Speaker 3: their car off at an all night service station in

1444
01:19:13,040 --> 01:19:16,479
Speaker 3: the middle of the. Desert that's. Convenient there's a motel right.

1445
01:19:16,520 --> 01:19:19,960
Speaker 3: Nearby and the gargoyles really tore the car. Up it

1446
01:19:20,040 --> 01:19:23,760
Speaker 3: is slashed to, pieces and so they go over to this.

1447
01:19:23,920 --> 01:19:28,960
Speaker 3: MOTEL i looked this. Up this was a real motel Near,

1448
01:19:29,120 --> 01:19:33,720
Speaker 3: Carlsbad New mexico that was called The Cactus. Motel as

1449
01:19:33,800 --> 01:19:36,920
Speaker 3: like a sort of Roadside america POST i found refers

1450
01:19:36,920 --> 01:19:38,160
Speaker 3: to it as The Gargoyles.

1451
01:19:38,200 --> 01:19:42,160
Speaker 2: Motel, yeah and apparently no longer. AROUND. I you, KNOW

1452
01:19:42,200 --> 01:19:44,320
Speaker 2: i might otherwise be inclined to say it's a tragedy

1453
01:19:44,360 --> 01:19:47,240
Speaker 2: that we lost such an iconic filming. Location but this

1454
01:19:47,360 --> 01:19:51,400
Speaker 2: place looks pretty rough in nineteen seventy, Two and according

1455
01:19:51,439 --> 01:19:54,759
Speaker 2: to this Roadside america, post apparently now it's a Registered

1456
01:19:54,880 --> 01:19:58,160
Speaker 2: New mexico historical, site not because of The gargoyles, movie

1457
01:19:58,560 --> 01:20:02,240
Speaker 2: but because of some archaeologic digs in the, area real,

1458
01:20:02,280 --> 01:20:04,200
Speaker 2: ones not gargoyle.

1459
01:20:04,280 --> 01:20:07,240
Speaker 3: Related so at the, motel they check in with the,

1460
01:20:07,280 --> 01:20:10,479
Speaker 3: Proprietor Missus. Parks she answers the door with a tall

1461
01:20:10,520 --> 01:20:14,280
Speaker 3: glass of. Liquor this is that, Character and she takes

1462
01:20:14,320 --> 01:20:15,880
Speaker 3: them to the, room and she keeps trying to Get

1463
01:20:15,880 --> 01:20:18,360
Speaker 3: Cornell wild to like come back and party with. Her

1464
01:20:19,120 --> 01:20:22,120
Speaker 3: and she also won't stop telling stories of grizzly car

1465
01:20:22,200 --> 01:20:23,120
Speaker 3: accidents she has.

1466
01:20:23,160 --> 01:20:28,880
Speaker 2: Witnessed, yes hers is a curious seduction. Style it does

1467
01:20:28,920 --> 01:20:32,160
Speaker 2: not quite work in this, film but apparently it has worked,

1468
01:20:32,200 --> 01:20:33,000
Speaker 2: before so who can?

1469
01:20:33,080 --> 01:20:35,120
Speaker 3: Falter AND i think this is sort of the end

1470
01:20:35,160 --> 01:20:38,880
Speaker 3: Of act. One they go to, bed so, HERE i

1471
01:20:38,880 --> 01:20:41,040
Speaker 3: guess we can zoom out and talk in some broader.

1472
01:20:41,120 --> 01:20:45,160
Speaker 3: Strokes the next, morning they sort of report what, happened

1473
01:20:45,240 --> 01:20:47,800
Speaker 3: or at least a partial version of what happened to the.

1474
01:20:47,840 --> 01:20:53,519
Speaker 3: Police mercer holds back the full gargoyle, ENCOUNTER i think

1475
01:20:53,560 --> 01:20:57,439
Speaker 3: because he hasn't gotten the gargoyle skull carbon dated.

1476
01:20:57,520 --> 01:21:02,120
Speaker 2: Yet mercer is, very very relaxed in all of, this, Like,

1477
01:21:02,200 --> 01:21:05,559
Speaker 2: okay there was a violent encounter with creatures and somebody,

1478
01:21:05,680 --> 01:21:07,880
Speaker 2: died And will he's out, There willi's out there in

1479
01:21:07,960 --> 01:21:10,720
Speaker 2: the desert. Dead let's go and get a good night's.

1480
01:21:10,720 --> 01:21:12,719
Speaker 2: Sleep let's make sure we get the car turned into

1481
01:21:13,960 --> 01:21:16,479
Speaker 2: to a. Mechanic we'll report this to the police in the.

1482
01:21:16,520 --> 01:21:21,000
Speaker 3: Morning, yeah and not tell them everything Because i'm a

1483
01:21:21,040 --> 01:21:23,519
Speaker 3: little fuzzy on exactly why they couldn't. Yet he's, LIKE

1484
01:21:23,720 --> 01:21:25,960
Speaker 3: i haven't fully done all the research, yet so.

1485
01:21:26,240 --> 01:21:28,799
Speaker 2: Yeah and we do continue to see this as a character,

1486
01:21:28,880 --> 01:21:32,560
Speaker 2: trait like at Times diana accuses him of being unfeeling

1487
01:21:33,040 --> 01:21:35,320
Speaker 2: and he's like, well this is like the maximum of

1488
01:21:35,320 --> 01:21:37,880
Speaker 2: what we can do right. Now like we we can

1489
01:21:37,920 --> 01:21:40,719
Speaker 2: come back later with more info and get more, done

1490
01:21:40,720 --> 01:21:42,639
Speaker 2: but right now this is all we can. Do and

1491
01:21:42,760 --> 01:21:45,920
Speaker 2: SO i, MEAN i WILL i would acknowledge that to

1492
01:21:45,960 --> 01:21:47,800
Speaker 2: a certain. Degree, YEAH i guess. So.

1493
01:21:48,280 --> 01:21:50,920
Speaker 3: Uh, anyway so the police go to investigate the scene

1494
01:21:50,920 --> 01:21:53,920
Speaker 3: of the fire and they find a gang of young

1495
01:21:53,920 --> 01:21:58,240
Speaker 3: motorcycle enthusiasts loitering around the crime. Scene their leader seems

1496
01:21:58,240 --> 01:22:01,879
Speaker 3: to Be Scott glenn played by Or Scott glenn playing

1497
01:22:02,000 --> 01:22:05,120
Speaker 3: this young guy Named James rieger who's a very very

1498
01:22:05,120 --> 01:22:09,479
Speaker 3: good looking bad boy on a. Motorcycle the bullies do

1499
01:22:09,680 --> 01:22:13,000
Speaker 3: not implicate the bikers in the, crime but the cops

1500
01:22:13,080 --> 01:22:16,320
Speaker 3: arrest them, anyway and the bullies do not reveal what

1501
01:22:16,400 --> 01:22:19,040
Speaker 3: they do know would that would make it clear that

1502
01:22:19,080 --> 01:22:21,320
Speaker 3: the bikers were not were not to.

1503
01:22:21,360 --> 01:22:24,200
Speaker 2: Blame and this shuld becomes no surprise to anyone who's

1504
01:22:24,439 --> 01:22:28,120
Speaker 2: watched any amount of biker in the. Media even though

1505
01:22:28,120 --> 01:22:29,920
Speaker 2: these guys are not really a motorcycle, club they're just

1506
01:22:29,960 --> 01:22:33,800
Speaker 2: as pointed, out they're just dirt. Bikers but, still bikers

1507
01:22:33,800 --> 01:22:37,280
Speaker 2: and cops do not like each, other and our natural,

1508
01:22:37,400 --> 01:22:40,160
Speaker 2: enemies and of, course the cops are going to arrest

1509
01:22:40,200 --> 01:22:42,760
Speaker 2: the bikers for anything they can get them.

1510
01:22:42,760 --> 01:22:44,880
Speaker 3: On, yeah the cops are just, like, yeah you know

1511
01:22:44,920 --> 01:22:48,719
Speaker 3: how these dirt bikers are, There they probably did. Something.

1512
01:22:49,000 --> 01:22:52,519
Speaker 3: Yeah so later that, night the bullies are back in

1513
01:22:52,560 --> 01:22:54,760
Speaker 3: their motel room at The Cactus motel and they are

1514
01:22:54,800 --> 01:22:58,680
Speaker 3: attacked by several. Gargoyles we get some great scenes of

1515
01:22:58,760 --> 01:23:02,160
Speaker 3: breakaway doors and and the motel attack that just kind

1516
01:23:02,160 --> 01:23:05,080
Speaker 3: of crumble like they're made out OF i don't, know gram.

1517
01:23:05,120 --> 01:23:08,000
Speaker 2: Crackers, yeah and it's not a siege sequence, either because

1518
01:23:08,000 --> 01:23:10,439
Speaker 2: the gargoyles are just right in, There like there's one

1519
01:23:10,439 --> 01:23:12,479
Speaker 2: in the. BATHROOM i don't know what that gargoyle is

1520
01:23:12,520 --> 01:23:15,559
Speaker 2: doing in the. Bathroom When mercer opens the, door it's

1521
01:23:15,600 --> 01:23:18,479
Speaker 2: like it's like the first stage of this attack is

1522
01:23:18,479 --> 01:23:21,519
Speaker 2: to rifle through his pills or. Something.

1523
01:23:21,880 --> 01:23:24,200
Speaker 3: Yeah they just kool aid man bust through the.

1524
01:23:24,200 --> 01:23:24,599
Speaker 2: Walls.

1525
01:23:24,920 --> 01:23:28,360
Speaker 3: Yeah but they're, there in fact to retrieve the gargoyle,

1526
01:23:28,479 --> 01:23:31,639
Speaker 3: skull which is. Interesting that means it seems these creatures

1527
01:23:31,720 --> 01:23:34,559
Speaker 3: must be intelligent and they are trying to cover up

1528
01:23:34,600 --> 01:23:39,000
Speaker 3: evidence of their. Existence but during this this attempt to

1529
01:23:39,040 --> 01:23:41,559
Speaker 3: retrieve the, skull one of the gargoyles gets hit by

1530
01:23:41,560 --> 01:23:44,840
Speaker 3: a truck and, killed And bully takes the body back

1531
01:23:44,880 --> 01:23:48,920
Speaker 3: with him and so and here we get to see

1532
01:23:48,920 --> 01:23:51,160
Speaker 3: like the different kinds of. Gargoyles they are like some

1533
01:23:51,280 --> 01:23:54,400
Speaker 3: gargoyles that are more lizard, men others that have more

1534
01:23:54,520 --> 01:23:56,080
Speaker 3: bird like, features kind of with.

1535
01:23:56,160 --> 01:23:59,439
Speaker 2: Beaks, yeah, YEAH i think this is of course fitting

1536
01:23:59,479 --> 01:24:03,000
Speaker 2: with the very designs of like actual architectural. Gargoyles but

1537
01:24:04,080 --> 01:24:07,720
Speaker 2: the main ones we see attacking here are, wingless which you,

1538
01:24:07,760 --> 01:24:10,920
Speaker 2: know we can interpret as being due to the fact

1539
01:24:10,920 --> 01:24:13,000
Speaker 2: that wings are extra work and maybe you don't have

1540
01:24:13,040 --> 01:24:15,400
Speaker 2: time to make wings for. Everybody but also maybe these

1541
01:24:15,439 --> 01:24:19,479
Speaker 2: are worker gargoyles or. Juveniles but, yeah there's a great

1542
01:24:19,520 --> 01:24:24,360
Speaker 2: deal of varied morphology, here and if you want to

1543
01:24:24,400 --> 01:24:27,880
Speaker 2: see some like better imagery behind the scenes imagery of

1544
01:24:27,880 --> 01:24:31,120
Speaker 2: the different masks and. Costumes The Stan Winston school has

1545
01:24:31,160 --> 01:24:36,640
Speaker 2: a great article About stan and his cohorts work on,

1546
01:24:36,800 --> 01:24:40,080
Speaker 2: gargoyles with lots of cool pictures and masks and, suits

1547
01:24:40,760 --> 01:24:43,360
Speaker 2: so look that up at Stan winston school dot.

1548
01:24:43,360 --> 01:24:46,680
Speaker 3: Com so there's a scene Where diana goes to the

1549
01:24:46,680 --> 01:24:49,559
Speaker 3: police station to get them to Release Scott glenn and his.

1550
01:24:49,640 --> 01:24:52,040
Speaker 3: Bros because you know they didn't do the, murder but

1551
01:24:52,040 --> 01:24:56,240
Speaker 3: the police will not release them. Yet and, again the

1552
01:24:56,240 --> 01:24:58,880
Speaker 3: bullies could tell the whole truth now because they've got

1553
01:24:58,880 --> 01:25:01,439
Speaker 3: a dead gargoyle boty is proof they've got it in their,

1554
01:25:01,520 --> 01:25:05,559
Speaker 3: Car BUT i Think bowley doesn't for some, reason still

1555
01:25:05,600 --> 01:25:08,120
Speaker 3: can't reveal. It he like doesn't want to get scooped

1556
01:25:08,120 --> 01:25:09,120
Speaker 3: on the discovery or.

1557
01:25:09,120 --> 01:25:12,280
Speaker 2: Something, yeah, yeah it's like he it's not that he

1558
01:25:12,320 --> 01:25:16,360
Speaker 2: doesn't want to help, people but he's very calculated in

1559
01:25:16,400 --> 01:25:17,679
Speaker 2: how he wants to roll everything.

1560
01:25:17,720 --> 01:25:19,439
Speaker 3: Out Look out for number, One.

1561
01:25:19,520 --> 01:25:21,479
Speaker 2: Yeah look out for number. One maybe make sure you

1562
01:25:21,520 --> 01:25:25,280
Speaker 2: have a good press release prepared, beforehand even if the

1563
01:25:25,280 --> 01:25:26,960
Speaker 2: bikers are just stewing in the jail.

1564
01:25:27,000 --> 01:25:29,679
Speaker 3: Cell BUT i like this is one of those movie

1565
01:25:29,840 --> 01:25:33,400
Speaker 3: jails where you can walk into the police station and

1566
01:25:33,439 --> 01:25:35,639
Speaker 3: then just walk up to the cells and like talk

1567
01:25:35,680 --> 01:25:36,280
Speaker 3: to the people in.

1568
01:25:36,320 --> 01:25:37,960
Speaker 2: Them, yeah it's Basically Desert.

1569
01:25:38,000 --> 01:25:41,600
Speaker 3: Mayberry, yeah So diana walks up to the biker is

1570
01:25:41,640 --> 01:25:45,040
Speaker 3: and kind kind of semi flirts With rigor here but

1571
01:25:45,439 --> 01:25:48,400
Speaker 3: talks to him about, Gargoyles and there's a good exchange

1572
01:25:48,439 --> 01:25:50,880
Speaker 3: Where Scott glenn, says so you and your old man

1573
01:25:51,000 --> 01:25:54,320
Speaker 3: you're not afraid of them gar. Things, Huh and she

1574
01:25:54,479 --> 01:25:57,800
Speaker 3: says gargoyles are a scientific fact and they're no more

1575
01:25:57,880 --> 01:26:00,600
Speaker 3: dangerous than a high school dropout on a. Motorcycle.

1576
01:26:02,320 --> 01:26:04,320
Speaker 2: YEAH i don't, Know. DIANA i feel like the Guard

1577
01:26:04,360 --> 01:26:06,559
Speaker 2: things by this point in the film have proven themselves

1578
01:26:06,560 --> 01:26:09,760
Speaker 2: to be rather shockingly, effective you, know tearing up the

1579
01:26:09,800 --> 01:26:14,000
Speaker 2: car and all. Like there is violent as a supernatural motorcycle.

1580
01:26:14,040 --> 01:26:17,920
Speaker 2: Gang BUT i think they obviously trump just the motorcycle

1581
01:26:17,960 --> 01:26:19,400
Speaker 2: dropout squad that she's referring.

1582
01:26:19,439 --> 01:26:23,960
Speaker 3: To, Yeah gargoyle's on wheels, Anyway so there's another gargoyle

1583
01:26:24,000 --> 01:26:27,120
Speaker 3: attack on the. Bullies this time the gargoyles take the

1584
01:26:27,160 --> 01:26:31,519
Speaker 3: body with, Them they take the professor's, books and they Kidnapped,

1585
01:26:31,520 --> 01:26:34,559
Speaker 3: diana taking her back to the gargoyle home base within

1586
01:26:34,600 --> 01:26:39,639
Speaker 3: a local cave, system which Is Carlsbad kenyon Or Kenyons,

1587
01:26:39,680 --> 01:26:40,400
Speaker 3: caverns isn't.

1588
01:26:40,400 --> 01:26:43,160
Speaker 2: It, yeah, YEAH i look this. Up the cave scenes

1589
01:26:43,240 --> 01:26:47,519
Speaker 2: were filmed In Carlsbad Caverns National. PARK i don't THINK

1590
01:26:47,560 --> 01:26:49,760
Speaker 2: i have actually been, there been To New mexico? Once

1591
01:26:49,760 --> 01:26:50,840
Speaker 2: have you been To? Carlsbad?

1592
01:26:51,000 --> 01:26:53,320
Speaker 3: No, NO i have been In New mexico but didn't

1593
01:26:53,360 --> 01:26:53,800
Speaker 3: make it to the.

1594
01:26:53,840 --> 01:26:56,960
Speaker 2: Caves. Yeah i've been to some other cave systems in

1595
01:26:57,000 --> 01:26:59,800
Speaker 2: this part of the, country but not. These but, yeah

1596
01:26:59,800 --> 01:27:02,360
Speaker 2: this is one of a number of pictures that were filmed, there,

1597
01:27:02,880 --> 01:27:06,559
Speaker 2: also including nineteen Fifties King Solomon's, minds fifty One's Unknown,

1598
01:27:06,640 --> 01:27:09,400
Speaker 2: world fifty Eight's The, spider fifty Nine's journey to The

1599
01:27:09,439 --> 01:27:12,479
Speaker 2: center of The, earth seventy Three's John Livingston, seagull and

1600
01:27:12,600 --> 01:27:15,000
Speaker 2: seventy four Is The Bat, people which we already. REFERENCED

1601
01:27:15,160 --> 01:27:17,280
Speaker 2: i Believe Stan winston worked on that one as.

1602
01:27:17,280 --> 01:27:20,679
Speaker 3: Well so from here the movie finally starts to arrive

1603
01:27:20,760 --> 01:27:24,160
Speaker 3: at its core, proposition which is a gargoyle hunt featuring,

1604
01:27:24,280 --> 01:27:28,559
Speaker 3: yes of course, cops but also. Bikers So Cornell, WILDE

1605
01:27:28,600 --> 01:27:31,439
Speaker 3: i forget how he somehow convinces the cops to release

1606
01:27:31,479 --> 01:27:34,360
Speaker 3: the bikers from jail and they team up to help

1607
01:27:34,439 --> 01:27:37,759
Speaker 3: find the gargoyles layer and Save. Diana this is after

1608
01:27:38,000 --> 01:27:40,080
Speaker 3: the second attack, there SO i guess the cops have

1609
01:27:40,160 --> 01:27:46,200
Speaker 3: been convinced. Somehow, also Missus, parks the alcoholic lady at the,

1610
01:27:46,200 --> 01:27:49,080
Speaker 3: motel and the local mechanic drive away in a pickup

1611
01:27:49,120 --> 01:27:52,439
Speaker 3: truck to get help from out of. Town but later

1612
01:27:52,520 --> 01:27:56,200
Speaker 3: the posse finds the truck, wrecked smeared with, blood and

1613
01:27:56,240 --> 01:28:00,280
Speaker 3: they come across Missus parks's body hanging upside down from

1614
01:28:00,320 --> 01:28:03,720
Speaker 3: a telephone, pole which is a very creepy shot in,

1615
01:28:03,880 --> 01:28:08,120
Speaker 3: concept but a little bit less so in. Execution AND

1616
01:28:08,160 --> 01:28:10,439
Speaker 3: i think she should have still had the rumglass in her.

1617
01:28:10,439 --> 01:28:13,479
Speaker 2: HAND i think. SO i think maybe downing the last

1618
01:28:13,479 --> 01:28:15,800
Speaker 2: of it would have been like the last act that

1619
01:28:15,880 --> 01:28:17,439
Speaker 2: she committed before.

1620
01:28:17,439 --> 01:28:21,160
Speaker 3: Passing, anyways the posse hunts the gargoyle. Cave we get

1621
01:28:21,160 --> 01:28:25,200
Speaker 3: some action scenes of cops and bikers fighting gargoyle warriors

1622
01:28:25,240 --> 01:28:28,240
Speaker 3: and the scrub. Desert the gargoyles can, fly but they

1623
01:28:28,240 --> 01:28:32,120
Speaker 3: are not, invincible so it's a you, know it's a tough,

1624
01:28:32,160 --> 01:28:35,880
Speaker 3: fight but a somewhat fair. Fight, meanwhile as all this

1625
01:28:35,920 --> 01:28:38,799
Speaker 3: is going, on we also follow what happens To diana

1626
01:28:38,880 --> 01:28:42,800
Speaker 3: in the gargoyle. Cave while none of the gargoyles that

1627
01:28:42,840 --> 01:28:45,519
Speaker 3: we see earlier in the movie ever, Speak diana is

1628
01:28:45,560 --> 01:28:47,840
Speaker 3: taken to the leader of The, gargoyles who has quite

1629
01:28:47,840 --> 01:28:51,519
Speaker 3: a lot to, say and this Is Bernie casey in the,

1630
01:28:51,560 --> 01:28:55,320
Speaker 3: suit but again dubbed By Vic, parrien the voice from

1631
01:28:55,360 --> 01:29:00,120
Speaker 3: the outer. Limits so he explains that the history that

1632
01:29:00,160 --> 01:29:02,840
Speaker 3: we learned at the, beginning The gargoyles keep popping up

1633
01:29:02,880 --> 01:29:05,840
Speaker 3: in human history every six hundred years or so to

1634
01:29:06,040 --> 01:29:09,200
Speaker 3: try to destroy humankind and take over the, world but

1635
01:29:09,240 --> 01:29:12,120
Speaker 3: the humans keep beating them each, time after which they

1636
01:29:12,200 --> 01:29:16,120
Speaker 3: go into another six hundred year. Incubation but this time

1637
01:29:16,160 --> 01:29:18,760
Speaker 3: it will be. Different The gargoyles will really they're going

1638
01:29:18,800 --> 01:29:22,360
Speaker 3: to defeat us this, time and the gargoyle leader Makes

1639
01:29:22,400 --> 01:29:26,280
Speaker 3: diana read aloud to him From Doctor bowley's books because he's,

1640
01:29:26,280 --> 01:29:30,600
Speaker 3: LIKE i find your voice pleasing. Now the head gargoyle

1641
01:29:30,720 --> 01:29:34,760
Speaker 3: is clearly interested In. Diana he is attracted to, her

1642
01:29:35,160 --> 01:29:37,880
Speaker 3: though for some, reason they pause to make it explicit

1643
01:29:37,960 --> 01:29:41,240
Speaker 3: that the gargoyles do not need humans in order to.

1644
01:29:41,280 --> 01:29:45,400
Speaker 3: Reproduce in, fact they've got huge chambers full of more

1645
01:29:45,479 --> 01:29:50,360
Speaker 3: gargoyle eggs already, incubating and WHAT i thought was kind

1646
01:29:50,360 --> 01:29:53,519
Speaker 3: of a strange and interesting. Choice it is The King

1647
01:29:53,640 --> 01:29:58,400
Speaker 3: gargoyle's attraction To diana that ultimately helps the humans win

1648
01:29:58,479 --> 01:30:01,120
Speaker 3: at the end of the, movie because it seems that

1649
01:30:01,200 --> 01:30:04,960
Speaker 3: The Queen gargoyle sort of the his gargoyle wife becomes

1650
01:30:05,080 --> 01:30:09,400
Speaker 3: jealous of this and, causes and this causes The Queen

1651
01:30:09,439 --> 01:30:13,120
Speaker 3: gargoyle to help lead Doctor bowley to the rescue.

1652
01:30:13,200 --> 01:30:15,639
Speaker 2: Later, yeap that seems to be how it plays. Out

1653
01:30:15,680 --> 01:30:19,240
Speaker 2: maybe it's the soap opera writing credentials of the writing,

1654
01:30:19,280 --> 01:30:23,160
Speaker 2: team but that seems to be how it plays, out

1655
01:30:24,080 --> 01:30:26,639
Speaker 2: which isn't you? KNOW i, MEAN i guess on one, hand,

1656
01:30:26,720 --> 01:30:29,840
Speaker 2: yeah monster kidnapping the girl is just a standard monster

1657
01:30:29,920 --> 01:30:32,000
Speaker 2: movie trope and they felt like they needed to employ,

1658
01:30:32,040 --> 01:30:33,639
Speaker 2: that and so maybe they're adding just a little soap

1659
01:30:33,680 --> 01:30:37,280
Speaker 2: opera nuance to all of. That but it does seem

1660
01:30:37,320 --> 01:30:42,000
Speaker 2: like The gargoyle mission here has gone rather off. Track

1661
01:30:42,400 --> 01:30:44,760
Speaker 2: like you only get to do this every six hundred, years,

1662
01:30:44,760 --> 01:30:48,120
Speaker 2: guys you need to pull it together beyond target because

1663
01:30:48,200 --> 01:30:50,920
Speaker 2: during those six hundred years you have fallen behind in

1664
01:30:51,000 --> 01:30:54,000
Speaker 2: technology a. Lot, yes you, know whether you realize it or,

1665
01:30:54,040 --> 01:30:56,320
Speaker 2: not things are going to be different this, time and

1666
01:30:56,800 --> 01:30:58,840
Speaker 2: don't count too much on next. Time it could be,

1667
01:30:58,880 --> 01:31:01,400
Speaker 2: harder maybe it'll be, easy but the six hundred years

1668
01:31:01,400 --> 01:31:02,920
Speaker 2: is a long, time that's.

1669
01:31:03,040 --> 01:31:06,320
Speaker 3: TRUE i, MEAN i feel like the jealousy is a

1670
01:31:06,360 --> 01:31:10,320
Speaker 3: weird thing because it makes the gargoyles seem more, human

1671
01:31:11,120 --> 01:31:14,800
Speaker 3: which also makes the ending less palatable where the ending.

1672
01:31:14,880 --> 01:31:18,360
Speaker 3: Is it's very ripley in aliens Like Scott glin And

1673
01:31:18,360 --> 01:31:20,360
Speaker 3: Cornell wilde go into the cave and they're, like we

1674
01:31:20,439 --> 01:31:23,040
Speaker 3: got to destroy this, whole all the, eggs you, know

1675
01:31:23,080 --> 01:31:26,519
Speaker 3: burn them all. Up but like the jealousy thing has

1676
01:31:26,600 --> 01:31:29,200
Speaker 3: made it seem, like, oh these are not just like,

1677
01:31:29,600 --> 01:31:33,160
Speaker 3: weapons not just like destruction. Machines they kind of are

1678
01:31:33,640 --> 01:31:36,280
Speaker 3: people in a, sense like they might want to destroy,

1679
01:31:36,400 --> 01:31:37,880
Speaker 3: us but they are they feel kind of.

1680
01:31:37,960 --> 01:31:42,840
Speaker 2: Human, now, yeah we see like hatchling gargoyles as, well so, like,

1681
01:31:43,000 --> 01:31:45,720
Speaker 2: yeah you end up feeling for them quite a. Bit

1682
01:31:46,479 --> 01:31:50,040
Speaker 2: and you, know, granted The gargoyles have discussed wiping out

1683
01:31:50,080 --> 01:31:53,519
Speaker 2: all humans and you, know we obviously can't get on

1684
01:31:53,560 --> 01:31:57,960
Speaker 2: board with that, constat but the humans also seem to

1685
01:31:57,960 --> 01:31:59,680
Speaker 2: to be very much in favor of wiping out the,

1686
01:31:59,680 --> 01:32:02,040
Speaker 2: gargle so you, know we're in a bit of a standoff.

1687
01:32:02,040 --> 01:32:06,800
Speaker 3: Here well, yeah but the show of sort of betrayal

1688
01:32:07,080 --> 01:32:10,120
Speaker 3: of The King gargoyle by The Queen gargoyle suggests there

1689
01:32:10,160 --> 01:32:14,000
Speaker 3: could be differences of opinion within The gargoyle, people like

1690
01:32:14,040 --> 01:32:16,760
Speaker 3: what if instead we just depose The King gargoyle and

1691
01:32:16,840 --> 01:32:19,360
Speaker 3: empower some one of the gargoyles that wants to live

1692
01:32:19,760 --> 01:32:20,320
Speaker 3: in harmony with.

1693
01:32:20,400 --> 01:32:23,679
Speaker 2: Humans it seems very, possible, RIGHT i, mean gargoyles probably

1694
01:32:23,720 --> 01:32:25,840
Speaker 2: have a lot to teach. Us we have stuff to

1695
01:32:25,880 --> 01:32:28,400
Speaker 2: teach them they're interested, in so why.

1696
01:32:28,439 --> 01:32:32,240
Speaker 3: Not, anyway so we get a final confrontation where Doctor

1697
01:32:32,280 --> 01:32:35,679
Speaker 3: bully has led to the gargoyle, leader who wants to

1698
01:32:35,760 --> 01:32:38,599
Speaker 3: Carry diana away with. Him as they're, ESCAPING i think

1699
01:32:38,640 --> 01:32:40,840
Speaker 3: maybe some MORE i don't, know maybe some more people are.

1700
01:32:40,920 --> 01:32:43,479
Speaker 3: Arriving oh oh, WAIT i almost forgot to Mention Scott

1701
01:32:43,520 --> 01:32:47,120
Speaker 3: glenn blows himself up in order to destroy the eggs

1702
01:32:47,120 --> 01:32:50,680
Speaker 3: in one. Room Scott glenn is already that dedicated to

1703
01:32:50,800 --> 01:32:52,120
Speaker 3: the destruction of gargoyle.

1704
01:32:52,200 --> 01:32:56,599
Speaker 2: Kind you, know he may have been no good biker,

1705
01:32:56,680 --> 01:32:58,840
Speaker 2: kid but he just needed a cause to get. Behind

1706
01:32:58,920 --> 01:32:59,519
Speaker 2: and here is.

1707
01:33:00,439 --> 01:33:03,599
Speaker 3: So, anyway AS i, said the gargoyle main gargoyle wants

1708
01:33:03,640 --> 01:33:07,120
Speaker 3: to fly away With, diana But Doctor bowley comes up

1709
01:33:07,120 --> 01:33:11,080
Speaker 3: with a solution to this. Problem he bashes the Gargoyle

1710
01:33:11,280 --> 01:33:15,240
Speaker 3: queen's wing with a rock so she can no longer.

1711
01:33:15,280 --> 01:33:18,760
Speaker 3: Fly so if the gargoyle king wants to escape with,

1712
01:33:18,800 --> 01:33:22,679
Speaker 3: her he has to carry, her meaning he cannot also Carry,

1713
01:33:22,720 --> 01:33:25,600
Speaker 3: diana so he has to Leave diana. Behind and he

1714
01:33:25,680 --> 01:33:28,120
Speaker 3: has a line he, says how clever you. Are your

1715
01:33:28,200 --> 01:33:31,120
Speaker 3: choice has allowed you and your daughter to. Survive it

1716
01:33:31,160 --> 01:33:34,479
Speaker 3: also allows me and my kind to, survive perhaps at

1717
01:33:34,479 --> 01:33:38,200
Speaker 3: the price of your supremacy On. Earth one, day and

1718
01:33:38,320 --> 01:33:42,000
Speaker 3: he flies, away and that's the ending we'd like, see

1719
01:33:42,040 --> 01:33:44,160
Speaker 3: and they show him. Flying we get a kind of

1720
01:33:44,200 --> 01:33:45,360
Speaker 3: slow mo flyaway.

1721
01:33:45,400 --> 01:33:47,960
Speaker 2: Shot looks pretty good. TOO i have to, say all things,

1722
01:33:48,000 --> 01:33:51,760
Speaker 2: considered you, know, OKAY tv movie, budget it could have

1723
01:33:51,840 --> 01:33:55,200
Speaker 2: looked a lot flappier and on the, wire BUT i

1724
01:33:55,240 --> 01:33:57,920
Speaker 2: thought it looked pretty. Good but, yeah our heroes end

1725
01:33:58,000 --> 01:34:00,360
Speaker 2: up sort of taking the high, road but most out

1726
01:34:00,400 --> 01:34:03,559
Speaker 2: of self interest and after like getting in a cheap

1727
01:34:03,600 --> 01:34:08,040
Speaker 2: shot against the very female gargoyle who put her own

1728
01:34:08,160 --> 01:34:13,240
Speaker 2: species ascension aside to help them. Out, yeah, so you,

1729
01:34:13,240 --> 01:34:13,639
Speaker 2: know mixed.

1730
01:34:13,680 --> 01:34:18,040
Speaker 3: Feelings it's unclear to me exactly how conscious the film

1731
01:34:18,520 --> 01:34:23,439
Speaker 3: is of the moral ambiguity of its, heroes especially Of

1732
01:34:23,479 --> 01:34:27,040
Speaker 3: Cornell wilde's. Character BUT i don't. KNOW i don't know

1733
01:34:27,040 --> 01:34:28,760
Speaker 3: if this was an attempt to create a kind of

1734
01:34:28,800 --> 01:34:32,160
Speaker 3: morally gray protagonist who uses a lot of dirty tricks

1735
01:34:32,160 --> 01:34:35,720
Speaker 3: and often acts in self interest or if that or

1736
01:34:35,760 --> 01:34:37,639
Speaker 3: if that was just kind of like going over their.

1737
01:34:37,680 --> 01:34:40,040
Speaker 3: Heads there's not a lot of acknowledgment of.

1738
01:34:40,120 --> 01:34:42,960
Speaker 2: It, yeah it's hard to tell if this is something

1739
01:34:43,200 --> 01:34:47,360
Speaker 2: that was diluted in the execution of the film and

1740
01:34:48,120 --> 01:34:51,479
Speaker 2: maybe more prevalent in the, script or is this something

1741
01:34:51,680 --> 01:34:55,280
Speaker 2: an energy that kind of emerges out of the filmmaking.

1742
01:34:55,360 --> 01:34:59,120
Speaker 2: Process but, yeah you can imagine if someone were to remake,

1743
01:34:59,120 --> 01:35:02,519
Speaker 2: this like imagine The Rob zombie remake of Gard Rob

1744
01:35:02,600 --> 01:35:04,360
Speaker 2: zombie would get in, there he would explore these.

1745
01:35:04,400 --> 01:35:10,080
Speaker 3: Themes Sid haig as Doctor Mercer, Bowley Sherry Moon zombie

1746
01:35:10,280 --> 01:35:11,559
Speaker 3: As Diana.

1747
01:35:11,560 --> 01:35:15,400
Speaker 2: Bowley, yeah, yeah OR i think now this should Be

1748
01:35:15,479 --> 01:35:17,160
Speaker 2: zombie's next, film like get her in that she can

1749
01:35:17,200 --> 01:35:20,640
Speaker 2: play The Queen. Gargoyle, okay, yeah and who else is

1750
01:35:20,640 --> 01:35:25,320
Speaker 2: he fond of casting these? Days, Oh Richard. Brake Richard

1751
01:35:25,360 --> 01:35:28,559
Speaker 2: brake is The King. Gargoyle that's that's somebody That zombie

1752
01:35:28,640 --> 01:35:31,799
Speaker 2: cast a. Lot not as tall as A Bernie, casey

1753
01:35:31,920 --> 01:35:34,280
Speaker 2: but you, know good monster makeup.

1754
01:35:34,320 --> 01:35:36,720
Speaker 3: Guy oh, okay, well, anyway That's.

1755
01:35:36,760 --> 01:35:40,240
Speaker 2: Gargoyle's, yeah it's a fun. ONE i, mean you can

1756
01:35:40,280 --> 01:35:43,080
Speaker 2: really see. WHY i read subsequently was reading some other

1757
01:35:43,160 --> 01:35:45,599
Speaker 2: like little reviews on letterboxed and you know a lot

1758
01:35:45,600 --> 01:35:48,479
Speaker 2: of people were saying things about how when they were,

1759
01:35:48,560 --> 01:35:51,360
Speaker 2: kids this movie resonated with, them you, know, Yeah and

1760
01:35:51,400 --> 01:35:53,799
Speaker 2: you can totally get that with these these fun monster.

1761
01:35:53,880 --> 01:35:57,320
Speaker 2: Suits and also the kind of subversive nature that it

1762
01:35:57,400 --> 01:36:00,400
Speaker 2: might feel like it has if you're a kid just

1763
01:36:00,479 --> 01:36:03,879
Speaker 2: watching stuff on, television like what is? Gargoyles like it's,

1764
01:36:04,479 --> 01:36:07,200
Speaker 2: again it's it's weirder than it probably has any right to.

1765
01:36:07,280 --> 01:36:11,720
Speaker 3: Be CAN i offer another thing that is interesting about

1766
01:36:11,880 --> 01:36:15,439
Speaker 3: television as a venue for horror movies compared to the.

1767
01:36:15,479 --> 01:36:19,360
Speaker 3: CINEMA i don't know this for sure about historical practices

1768
01:36:19,400 --> 01:36:21,200
Speaker 3: and movie, theaters BUT i bet it was hard for

1769
01:36:21,280 --> 01:36:23,840
Speaker 3: little kids to get into a movie theater to see

1770
01:36:23,880 --> 01:36:25,800
Speaker 3: like AN r rated horror, movie or maybe NOT r

1771
01:36:25,880 --> 01:36:28,920
Speaker 3: rated at the, time but a mature horror movie in

1772
01:36:29,000 --> 01:36:31,919
Speaker 3: the theaters in the. Seventies but you know who controls

1773
01:36:31,960 --> 01:36:34,240
Speaker 3: what kids are watching ON tv in the? Home, Parents

1774
01:36:34,840 --> 01:36:36,519
Speaker 3: maybe they're not even in the, room so the kid

1775
01:36:36,600 --> 01:36:39,479
Speaker 3: turns this. On that might be a different kind of

1776
01:36:39,760 --> 01:36:42,599
Speaker 3: reception thing about the medium as, Well like it's easier

1777
01:36:42,640 --> 01:36:46,479
Speaker 3: for kids to tune into a horror movie that they

1778
01:36:46,520 --> 01:36:49,600
Speaker 3: are not technically mature enough for when it's shown ON.

1779
01:36:49,680 --> 01:36:54,320
Speaker 2: Tv, yeah, yeah because especially at the, time it's like it's, implied,

1780
01:36:54,320 --> 01:36:56,320
Speaker 2: well if it's on network, television they should be able

1781
01:36:56,400 --> 01:36:56,719
Speaker 2: to handle.

1782
01:36:56,760 --> 01:36:56,880
Speaker 1: It.

1783
01:36:57,240 --> 01:36:59,439
Speaker 3: Yeah, Yeah so that kind of changes the way the

1784
01:36:59,439 --> 01:37:03,080
Speaker 3: horror work as, well because it's like a different audience

1785
01:37:03,160 --> 01:37:07,160
Speaker 3: and different. Setting, anyway the made FOR tv nous it

1786
01:37:07,280 --> 01:37:09,360
Speaker 3: really is strong. Here it is part of what this

1787
01:37:09,479 --> 01:37:11,120
Speaker 3: film is for good and for.

1788
01:37:11,200 --> 01:37:14,040
Speaker 2: Ill all, Right, well we'd love to hear from everyone out.

1789
01:37:14,040 --> 01:37:16,000
Speaker 2: There do you HAVE i know a number of you

1790
01:37:16,040 --> 01:37:19,479
Speaker 2: do have thoughts About, Gargoyles so write in and tell

1791
01:37:19,560 --> 01:37:21,400
Speaker 2: us what your connection is to this. Movie what do

1792
01:37:21,439 --> 01:37:23,360
Speaker 2: you think about some of the themes we've discussed. Here,

1793
01:37:23,880 --> 01:37:27,400
Speaker 2: likewise any other gargoyle related media out? There were you

1794
01:37:27,400 --> 01:37:30,240
Speaker 2: a big fan of the Animated gargoyles series and have

1795
01:37:30,320 --> 01:37:33,400
Speaker 2: thoughts on? That right, in we'd love to hear from. You.

1796
01:37:33,439 --> 01:37:35,599
Speaker 2: Do joe AND i need to watch the twenty fourteen

1797
01:37:35,680 --> 01:37:41,799
Speaker 2: FILM I, frankenstein in Which frankenstein's monster Battles. Gargoyles, maybe

1798
01:37:41,800 --> 01:37:44,479
Speaker 2: so make a case for it or anything else we

1799
01:37:44,520 --> 01:37:46,840
Speaker 2: may be missing out. There it's all fair.

1800
01:37:46,920 --> 01:37:51,080
Speaker 3: Game huge thanks as always to our excellent audio, PRODUCER Jj.

1801
01:37:51,200 --> 01:37:53,280
Speaker 3: Posway if you would like to get in touch with

1802
01:37:53,360 --> 01:37:55,400
Speaker 3: us with feedback on this episode or any, other to

1803
01:37:55,479 --> 01:37:57,679
Speaker 3: suggest a topic for the, future or just to say,

1804
01:37:57,680 --> 01:38:00,920
Speaker 3: hello you can email us at contact stuff To blow

1805
01:38:00,920 --> 01:38:01,760
Speaker 3: Your mind dot.

1806
01:38:01,760 --> 01:38:11,120
Speaker 1: Com stuff To Blow Your mind is production Of. iHeartRadio

1807
01:38:11,520 --> 01:38:14,120
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1808
01:38:14,200 --> 01:38:17,000
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1809
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